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WHAT IS STEM MIXING? / TAPE OP #87
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What is Stem
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What Is Stem Mixing?
What is Stem Mixing and How Can it Help Me? Hybrid
Mixing and How it Works
WRITTEN BY JOHN BACCIGALUPPI, BARNEY BARNICOTT, LARRY CRANE, JASON DEVORE,
ALEXANDER LAWSON, THOM MONAHAN, DAN WORKMAN ON JAN. 15, 2012 · 1 OPINION
ABOUT THIS
You've just finished the mix of a song and printed it to tape or back into your
DAW. You spent hours getting everything just perfect with your analog outboard gear
and console. If you tried to write the settings down for every knob it would take
several hours and the chances of getting it all patched in again and "recalling" the
mix exactly is pretty slim. The band is stoked and so is the producer. You're a hero.
Everybody wants to take you out for drinks but you tell them to go ahead and you'll
catch up with them in about an hour. Once the band leaves, you start printing the
stems of the mix.
This article will present a way to mix in the analog realm, while allowing for balance changes after you're done with the
console and outboard units. Anyone who's spent time mixing through a console with a bunch of outboard equipment knows
how frustrating it is to get the call, "We love it, but we have to turn up the ____ or we can't use the mix."
When we (John and Larry) first started working in recording studios, everything we multitracked was on analog tape and the
concept of recording into a computer was way off in the future. The usual process of making a record involved tracking to a
master tape, and then mixing down the tracks to a stereo tape recorder. Multitrack tape to mixer to 2-track tape. Simple. You
would sit down at the console, balance the tracks to stereo, and if you deemed the mixes unsatisfactory you would repeat the
process.
With the advent of recallable, automated consoles, many elements of our working methods began to shift. A mix might begin
to take shape during the tracking sessions. Full console recallability, such as the SSL mixer line, could facilitate large or small
changes to a mix. Recall sheets allowed outboard gear and partially automated consoles to be reset with varying degrees of
success.
But the widespread adoption of computer-based recording now allows digital-based mixes to be 100% stored and performed
in the digital realm; or "in the box" (ITB) as it's commonly termed. As this technology has become available to the general
public through affordable software, a "mix" is now less of a performance, and is instead something that can easily be returned
to repeatedly for subtle changes and tweaks. But now we are in a scenario where we've abandoned some fabulous mixing
consoles and outboard gear, and our hands are no longer on the faders guiding an intuitive mix.
We're not presenting this article on stem mixing with an agenda to denigrate ITB mixing; it would be foolish to attempt to
dictate how others work. Instead we offer it as one of the many ways to integrate analog and digital working methods in the
studio, as well as a way to provide the best work for your clients (or yourself) without endless mix recalls sucking up your
time. It also offers up an excellent way for a freelance engineer to efficiently utilize time in a professional studio and still offer
up mix tweaks on a session on a budget.
Some newer recordists might ask, "Why would you not want to mix this ITB?" Almost
everybody I've met who works as a professional recording engineer will agree that mixing
through an analog console usually sounds better. However, many professional engineers
do mix ITB. Reasons include repeatability, recall and the ability to please clients and
record labels. Labels often ask engineers to be able to recall any mix instantly and make a
minor change. This has become expected in the music industry at all levels. But still, I've
never heard anybody say, "I mix in the box because it sounds better."
Never. -JB
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WHAT IS STEM MIXING? / TAPE OP #87
What are stems? Stems are simply elements of a final mix that have been isolated as their own stereo mix. These stems can
then be combined in parallel, using the same starting point, to create a similar version of the main stereo mix but with slight
changes as needed. In film and post-production audio it has always been common to work with stems - elements of the final
mix broken out into various subgroups. Dialog, music, sound effects, background sounds and such are all submixed into
surround or stereo tracks for ease of final film audio mixing. This allows for control over the sound without having to monitor
hundreds, or thousands, of tracks.
For Post Production: Often referred to as DME stems (Dialog, Music, Effects) they are
generally due as deliverable assets along with the final mix. Stereo mix = stereo stems,
surround mix = surround stems. If ya wanna get really specific there are also DAME stems
(Dialog, Announcer, Music, Effects), but usually only for content like a documentary
where there is a VOG (Voice of God, disembodied) that may be over on-camera BG dialog. It
can get even more specific during mixing, but for delivery that about covers it. -JD
In typical stereo-based music production, think of stems as 2-track elements of a final mix, with all treatments (EQ,
compression, effects) in place and individual levels set to recreate the final mix when combined with the rest of the stems.
Here's a simple way to understand making and working with stems: once you have created a stereo mix you are happy with,
run an instrumental version (mute the vocals) and next run a vocal (or a cappella) version with any effects and treatments in
place. Make sure all tracks start from the exact same beginning point. You've just created two stems of this mix: Stem 1 -
instrumental mix and Stem 2 - just the vocals. Both stereo tracks can now be placed in a new DAW session (or this same
session, with other tracks muted) and when played simultaneously they will present (basically) the exact same mix you had
before. If you boost the level of the vocal track, you can now have a mix with a louder vocal by bouncing to disk, or printing
out to tape. Simple, and it can occasionally save the day.
At this point you can obviously remix just these two stems and create a vocal up or vocal down mix. Keep in mind that if you
are using an analog reverb like a plate, spring or hardware based digital reverb you'll need to consider if you'll want to be able
to change that balance later. If you do you'll need to print the vocal stem like this: Stem 2a - vocals, no reverb and Stem 2b -
reverb from vocals with no dry signal.
You'll also need to decide if you want to keep the background vocals if any as part of the main vocal stem. If not, you could
end up with even more vocal stems: Stem 2c - harmony vocal, dry, Stem 2d - harmony vocal reverb, Stem 2e - stereo oohs
and ahhs track, dry, and Stem 2f - reverb from oohs and ahhs. Now you can recall any possible variation and make changes of
all the vocals relative to the music and change those balances. This give you a lot of flexibility but the downside is that you
could end up with more noise as you'd have lots of reverb stems for instance and each of them would have some noise
associated with them. Cumulatively this will be noisier than the original mix that had everything going into one or two reverb
units. You could always print the vocals with the reverb and then do a stem dry. Then if needed your could resend the dry
stems to the reverb unit. Keep in mind that the dry/reverb option applies to every stem you make, but to conserve space,
we're not going to detail those for the rest of this article.
You need to be mixing your stems back into your DAW and not to tape, even if you are
mixing to tape. In order for this to work, all the stems need to be in perfect sync. You
won't be able to do that if a tape machine is in the chain. If you need to use your stems
later and want to have the mix on tape, you'll need to get the tape machine hooked back
up and print your mix again from the combined stems. -JB
What's the next most requested mix change? My experience is the bottom end can be a bit off. "Can we get more/less bass?"
"Can you pull out some bottom end from the kick drum?" Yes, we can do that. Let's make more stems: Stem 3 - music only
mix with no bass, Stem 4 - bass only, Stem 5 - music only with no drums or bass, and Stem 6 - drums only. Got it? Now with
your six stems you can change the level (and even apply EQ) on individual stems, and also change the balance/EQ on the
drums, bass, vocals and the rest of the music. Depending on the song, you may want to keep going and make more stems.
Maybe do a stem of kick, snare and then overheads if you really want to get anal. The arrangement and instrumentation and
your best judgment and intuition will determine how many stems you need to make. Now take this same concept and apply it
to all the elements of your mix. For a typical rock/pop type song you could print stereo mixes of the drums, bass, guitars,
keyboards, lead vocals and backing vocals. Make sure each stem is clearly labeled so you know what it is in case you need to
revisit this mix months, or even years, later.
or me, using stems is more about making sure you have all the components separately and
figuring out how to print them so you have access to them. For instance, a guitar intro
and a shaker can be on the same stem - I can always break them out into more tracks in
my DAW later. Arrange it so nothing overlaps. -TM
Of course every different song, style of music and artist may present unique situations for stem creation and mixing. If you are
printing stems grouped by instrument category, keep in mind that any prominent solo instruments may need level adjustments
later, so print these separate. It's a good idea to reference your original mix while "remixing" with the stems. You should have
it printed into the same session that you're working on. Assign the original mix to one monitor input and the new mix to
another so you can quickly switch between the two to make sure that the changes you need to make are good, while also
making sure what you like about the original mix hasn't changed.
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IS STEM
MIXING? / TAPE OP #87
You may also need to do a "clean" vocal version to remove obscenities. If it'sWHAT
a single,
you
may need to do a radio edit to shorten the song. If there are overlapping elements that
require a multitrack edit rather than using the 2-track you may be able to do the edit
with the stems. -AL
For all the stem recombining/mixing that I have done, I have always done the new mixes
ITB. Aesthetically I like the idea of piping the audio back through a console, but on the
projects where I've used stems, I've already run everything through my mixer. Do I want to
do this twice? It might be awesome, and I should try it soon! But the reality is that many of
my stem fix mixes occur on my laptop, at home or on the road. Ever since Pro Tools 9 and
the UAD-2 SOLO/Laptop came out I've been able to "save" mastering sessions from more
hotel rooms and airports than you can imagine. -LC
I use a console to remix stems. The first thing I do is calibrate the console inputs/faders to
Pro Tools using Avid's Signal Generator plug-in. I set each fader so the tone is at 0 VU. You
can substitute any other reference you might want to use. I then pull up the stems onto
pairs of faders, panned left and right. Then I make changes. You can either push up the
faders manually, or use the volume automation in the DAW to change the volume of the
stems;; the advantage of using the DAW to make changes is the ease with which you can
recall this stem mix when the client asks for the third remix. I've found a "colored"
console isn't much help. We have a 16- channel Neve and an API 1608 console [#81] in our
main mix room. I love the way the Neve sounds, but for mixing from stems the API is much
more open and transparent. I've also done some stem mixes in our B room using the
affordable Roll Music Folcrom RMS216 [#45]. This is a completely passive, analog summing
mixer with amazing specs. -JB
When you're mixing from stems in the box, it's easy to add "just a little more" of a
particular element, but you'd be surprised how little of it you actually need. To make a
"vocal up" mix all you need to do is to take your original mix and add in the vocal stem.
You'll begin to hear the vocal pop, even with the stem down at -14 dB. -TM
Phase and timing can be incredibly important at this point. When overlaying ITB
elements in a mix that have not been piped through the console, I frequently work on
nudging tracks around in time and will pop on the Little Labs IBP plug-in (via the UAD- 2
platform) for fine tuning phase relationships as well. And speaking of phase
relationships, by simply throwing this element out of phase with the mix you might be
able to reduce the level of an element in a mix. Like magic! -LC
If I've created stems immediately after printing a mix, I can take an element, phase invert
it, mix it with the main mix and drop the volume all the way to zero, literally removing
that element from the mix. You'd be shocked what you can get away with! It works wonders
with reverb on vocals. If you print the vocal reverb only, it's easy to phase reverse it later
over the mix and cancel out the reverb, any amount you want, to dry up the mix. -TM
Potential problems while making stems include: (1) If your console-based mix is incorporating a compressor or limiter on the
output of the mix bus, the fact that not all of the elements of the mix are hitting the bus with these individual passes will
cause the compressor to act differently than when it was affecting the whole playback. (2) Running multiple elements through
effects that might contain background noise (plate reverb, tape delay, etc.) may bring up the noise floor if numerous passes
require the effect to be in the mix. (3) If you combine passes that have run though the console with tracks that have remained
in the computer, the console-treated stems will be later in time due to the latency of the converters and will be out of phase
with any related tracks.
Do I print stems with the mix bus compressor on or off? I debated this for a long time, but I
find myself leaving the mix compressor on and not bypassing when printing stems. I find
if I'm rebuilding a mix completely from individual stems, it's most likely to create
something that is very different than the original. Also, if I don't have immediate access
to that mix bus compressor I can still make changes wherever I am. As most changes are
easy to overlay on finished mixes, a bit less compression on the stems works out well. -TM
If you have a compressor over the mix, do you print the stems with the compressor on? I
would say it's best to print them without it, recall the settings;; when you recombine the
stems, put the compressor on (and any post comp EQ, I suppose). I don't think individual
stems, with the compressor on, sounds the same as compressing the whole thing together.
Each element will hit the compressor differently, so you're actually parallel compressing
each element of the mix. -AL
Print a full mix on a separate stereo track, mute it so that it does not play back while you
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are outputting the stems and side chain the output of that full mix into the key input on
WHAT IS STEM MIXING? / TAPE OP #87
your mix bus compressor. That way each different stem will be compressed just as it was
during the full mix because the bus compressor is tracking and responding to the full
mix while processing each stem. This was a lifesaver for me back in my R&B days. There
were a lot of heavy rhythm tracks modulating the vocal balances and, until I happened
upon this method, my stems would never recombine into any semblance of my original
mix. -DW
If needed, sometimes radically new mixes can be created with stems. We've compressed, equalized and added effects to
already processed lead vocals in order to get them to work better in a mix. Whole stems can be discarded and new ones built
ITB that, when combined with the other stems, create a new take on the song. Remember there are no rules. In many cases
you need to try anything you can in order to please a client or to get to that "final" place with a mix.
You may find yourself mixing without the artist present. In these cases, I find that it's
best to try to get the mix 80 to 90% done. Focus on the energy and flow. Make sure
everything is hitting like it's supposed to, but don't get too crazy on the small details. Get
it feeling great and make sure the analog gear is doing its business. When you're stoked,
print it. Afterwards, spend time doing your stems. That hour or so you thoughtfully spent
on your stems will be worth way more than obsessing over the mix. Then you can get
everyone's feedback while finishing the last part. Get the mix to the artist and work with
their feedback and the stems to go the rest of the way. This has allowed me to move
confidently from song to song and make effective use of my time, rather than leaving a
mix sitting on the desk overnight. -TM
I mix on the board and get to the point where I would normally turn on the automation,
but then I print stems into the computer and finish the mix off from there. The
advantage is that I can finish the mix off over a few days, giving me time to live with it
before submitting it, and recalls are not ever a problem (as I don't have to do them) so it
makes any changes people want to make very quick and easy. It's also good to be able to be
working on a few mixes at once, which makes the process far quicker and efficient. -BB
Okay, so now you get the dreaded call, and you've been asked to make some minor (or major) changes to that "perfect" mix
you did. No problem, you say, just tell me what you want changed and I'll get you a new mix tomorrow. You're a hero again.
The great thing about the stem mixing method is that you can preserve the sound of all the compressors and EQs you spent
hours tweaking and can call them back up at any time. The process of printing the individual stems, and hearing isolated
elements of a mix that might be considered finished, can even send one immediately back to work on the mix in a new light.
Maybe it's an obnoxious sound in the bass guitar that had been masked by the drums, or maybe there are bad drum edits that
were covered up by guitars. "Fixing" these sounds can help create a cleaner, stronger mix. Breaking down a mix into its
components will teach you to listen to elements of a song with far more detail in mind before settling on a final mix.
Stem mixing can not only save a nearly perfect mix at the last minute, but can also open up new hybrid ways of working,
along with some interesting and creative possibilities. How much easier is it to cut between completely different drum mixes
when they are on two stereo stems rather than existing as 12 individual tracks in a mix? Bringing creativity and excitement to
our work is always the goal, as is delivering work that we are proud of and our clients are happy with. Getting the job done
and doing amazing work at the same time - what more can we strive for?
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Passive
Discussion
Jay said about this:
Active
WED, MAR 6, 2013 - 7:19PM
SWEET! Been decided I would be mixing my current project to stems for a while now,
this confirms that I'm not a loon for thinking this way.
One question: Do you deliver stems to mastering, in addition to the "final" mix?
I've read many mastering engineers have historically liked to get alternate mixes
(vocal up, vocal down, bass up, bass down, etc.) to work with if they need them.
I've also heard mastering folks describe how hard it can be to "fix" something
without unwanted consequences to an element that doesn't need fixing. It would
seem that delivering stems to mastering would solve both issues, but what I don't
know is whether or not mastering engineers agree, or whether they would look at
all those extra tracks and scream, "Dude! Bring me your project AFTER you're done
with the mix, OK?"
Thanks,
Jay
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