Hi, Frank.frankf wrote: FM,
Thanks for the explanation, and now I understand your workflow and goals better, and I see how you don't double automate. When I print a track or stems here in a film music workflow, I may and usually do want to print the automation, plugs, etc, depending on how the film music mixer works. Or if there's no music mixer, the film mixer him or herself. Also depends on the time available to do the music or film mix and if I can be there as producer. Unless there is time to give to respect the music, I need some control to present the music as I hear it. The mixer can adjust the stems from there. Artist tracks I would not automate unless the engineer I'm working with ask me to, so there I can see how I can possibly use your workflow and will try it. Different strokes. And DP allow us to choose
Yes. It's so cool to have different workflows for different needs.
I must mention that 2 of my top reasons to work that way is because, besides all the flexibility I've talked about when writing/mixing/printing, it allows me to easily print wet stems, the final mix, and the mastered mix, all in one pass as well. Also, having stems makes it a piece of cake to make the required lifts/shortened versions to the music.
My template allows me to print as many as 15 wet stems, covering almost every conceivable instrumentation scenario. Obviously, I almost never use them all (normally it's between 5-7 stems), but they are there in case I need them, and I could easily "spread" more audio tracks into those stems if I need more control or detail.
This method works great if you mix your own stuff. But if you must turn in your tracks for someone else to mix them, then it would have to be with wet stems. But if the mixer needs ALL tracks independently (!), then the best way would be for him to mix them directly in your DP session (if you're lucky), or you would have to freeze every single track, so their automation and plug-ins get printed (how tedious!). But, if you used sends for FX, or submix groups, then you must BOUNCE each track separately (more fun!), so all that gets included in each final printed track.
The problem here is that whatever plug-ins there are in the submix group aux tracks (EQ, compressors), they won't get the full interaction of all the instruments together by bouncing individually, so the printed tracks will NOT sound identical when the mixer flies them in a new session and zeroes all the faders.
That's why I think it's best to turn in detailed wet stems (when possible) when a 3rd party will be doing the mixing. If the stems are enough and decent, it should be all sHe needs.
Ain't DP just ridiculously COOL??
