Stem mixing and mastering

Stem-mixing is a method of mixing audio material based on

creating groups of audio tracks and processing them separately
prior to combining them into a final master mix. Stems are also
sometimes referred to as submixes, subgroups, or buses.

The distinction between a stem and a separation is rather unclear.

Some consider stem manipulation to be the same as separation
mastering, although others consider stems to be sub-mixes to be
used along with separation mastering. It depends on how many
separate channels of input are available for mixing and/or at
which stage they are on the way towards reducing them to a final
stereo mix.

The technique originated in the 1960s, with the introduction of

mixing boards equipped with the capability to assign individual
inputs to sub-group faders and to work with each sub-group (stem
mix) independently from the others. The approach is widely used
in recording studios to control, process and manipulate entire Image of Sub-group (stem) buses
groups of instruments such as drums, strings, or backup vocals, in on a mixing console.
order to streamline and simplify the mixing process. Additionally,
as each stem-bus usually has its own inserts, sends and returns,
the stem-mix (sub-mix) can be routed independently through its
own signal processing chain, to achieve a different effect for each
group of instruments. A similar method is also utilised with digital
audio workstations (DAWs), where separate groups of audio
tracks may be digitally processed and manipulated through
discrete chains of plugins.

Stem-mastering is a technique derived from stem mixing. Just

as in stem-mixing, the individual audio tracks are grouped
together, to allow for independent control and signal processing of Image of group assign features on
each stem, and can be manipulated independently from each individual mix channels of a mixing
other. Most of the mastering engineers require music producers to console. Green arrows indicate
have at least -3db headroom at each individual track before group assign buttons.
starting stem mastering process. The reason for this is to leave
more space in the mix to make the mastered version sound
cleaner and louder. Even though it is not commonly practiced by mastering studios, it does have its
proponents.

Contents
Stem
See also
References
Further reading

Stem
In audio production, a stem is a group of audio sources mixed together, usually by one person, to be
dealt with downstream as one unit. A single stem may be delivered in mono, stereo, or in multiple
tracks for surround sound.[1]

In sound mixing for film, the preparation of stems is a common stratagem to facilitate the final mix.
Dialogue, music and sound effects, called "D-M-E", are brought to the final mix as separate stems.
Using stem mixing, the dialogue can easily be replaced by a foreign-language version, the effects can
easily be adapted to different mono, stereo and surround systems, and the music can be changed to fit
the desired emotional response. If the music and effects stems are sent to another production facility
for foreign dialogue replacement, these non-dialogue stems are called "M&E".[1][2][3] The dialogue
stem is used by itself when editing various scenes together to construct a trailer of the film; after this
some music and effects are mixed in to form a cohesive sequence.[4]

In music mixing for recordings and for live sound, stems are subgroups of similar sound sources.
When a large project uses more than one person mixing, stems can facilitate the job of the final mix
engineer. Such stems may consist of all of the string instruments, a full orchestra, just background
vocals, only the percussion instruments, a single drum set, or any other grouping that may ease the
task of the final mix. Stems prepared in this fashion may be blended together later in time, as for a
recording project or for consumer listening, or they may be mixed simultaneously, as in a live sound
performance with multiple elements.[5] For instance, when Barbra Streisand toured in 2006 and
2007, the audio production crew used three people to run three mixing consoles: one to mix strings,
one to mix brass, reeds and percussion, and one under main engineer Bruce Jackson's control out in
the audience, containing Streisand's microphone inputs and stems from the other two consoles.[6]

Stems may be supplied to a musician in the recording studio so that the musician can adjust a
headphones monitor mix by varying the levels of other instruments and vocals relative to the
musician's own input. Stems may also be delivered to the consumer so they can listen to a piece of
music with a custom blend of the separate elements.

See also
List of musical works released in a stem format

References
1. Hollyn, Norman (2009). The Film Editing Room Handbook: How to Tame the Chaos of the Editing
Room (https://books.google.com/books?id=IRSq9qWQeMIC&pg=PA186) (4 ed.). Peachpit Press.
pp. 162, 186, 269. ISBN 0321679520.
2. Tozer, Edwin Paul J. (2004). Broadcast Engineer's Reference Book (https://books.google.com/boo
ks?id=DL73f4vFeEwC&pg=PA615). Taylor & Francis. p. 615. ISBN 0240519086.
3. LoBrutto, Vincent (1994). Sound-On-Film: Interviews With Creators of Film Sound (https://books.g
oogle.com/books?id=2Um8uZ1OyXAC&pg=PA183) (2 ed.). Greenwood. p. 183.
ISBN 0275944433.
 4. Woodhall, Woody (2010). Audio Production and Postproduction (https://books.google.com/books?
id=ERGuCF53CLcC&pg=PT461). Jones & Bartlett. pp. 461–462. ISBN 1449603203.
5. Bennett, Stephen (October 2005). "Stem Mixing In Logic" (http://www.soundonsound.com/sos/oct
05/articles/logictech.htm). Sound On Sound.
6. "Studio Legend Bruce Jackson Chooses VENUE and Pro Tools for Streisand World Tour" (http://n
ews.creativecow.net/story/857145). Digidesign press release. CreativeCow.net. 6 February 2007.
Retrieved 8 February 2011.

Further reading
US Patent 6772127, Aug 3, 2004 referring to independent processing of vocals and audio
program during digital mastering. (http://www.google.com/patents?vid=USPAT6772127&id=koUS
AAAAEBAJ&dq=audio+mastering)
US Patent 5930375, May 16, 1996, Audio mixing console. The text of this patent refers to
"grouped side chain processing". (http://www.google.com/patents?vid=USPAT5930375&id=XesYA
AAAEBAJ&dq=5930375)

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