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Whenever I’m working on a mix for a new client a question that frequently gets asked is “What is the best way to deliver the files for mixdown?”. Although there are no hard and fast rules, (always make sure you touch base with your mix engineer as everyone has their own personal preferences) here are some tips, from questions that I get asked, that will help prepare your track for mixdown.

Can I just send you my session file?

I always request the audio stems. (Individual bounce files of each element of the mix) Even if I am working in the same DAW as the client this is always my preference. In my experience working with session files can become too problematic.

1. There is a strong possibility of missing plugins/audio files
2. In most cases it can be difficult to navigate someone else’s session.

I prefer to start a clean session every time. This way I know exactly what is going on and can use my workflow to get my maximum results.

What sample rate/ bit depth do you want?

Another big question I hear is in regards to sample rate and bit depth. My preference for this is to have the files delivered at the same sample rate and bit depth as your original project. This way there is as little conversion as possible. Any necessary conversion can be left up to the mastering engineer. Sample rate/ bit depth is definitely is something you should check with your mix engineer first, because everyone has a different opinion and personal preference.

How do I export stems?

When exporting your stems always make sure that you are exporting your stereo tracks as stereo files, and mono tracks as mono files. I know this may sound simple but this is the correct way to export stems and you mix engineer will love you for it. Additionally, also be careful of your export settings and be sure not to add any normalisation or dithering. If you are not sure how to do this, I recommend doing some research or googling about the export window of your DAW and you’ll find the answers you need.

Should I leave on my effects?

Possibly the most important question I get is “Do I leave my effects on or turn them off?”. Because I work predominantly on electronic music this is particularly important as the effects can be integral to the sound of a track.

My general rule for this is as follows:

• If the effect added is a part of the sound i.e. a filter sweep, phaser, sidechain or things just sound wrong without it, then leave it on.
• If the effect is not integral i.e. some subtle EQ or compression, then bypass it.

If you are using auxiliary sends for reverbs or delays etc. bounce each auxiliary to it’s own stem.

I request all vocal parts to be completely raw and effect free unless there is a vocal chop/ filter effect that is key to the track.

I will then request both a set of stems with full effects and a set of stems completely dry. I want both because this way I can start my mix as close to your original production as possible and then swap out stems if any of the effects are causing issues for the online mix. I also generally request midi stems of lead, pad and bass parts so they can be easily swapped out or layered if necessary.

BPM

Finally make sure you include the BPM and key of the track somewhere with your stems. This is a small thing but will help immensely and take the guesswork out on my side. (and will show your mix engineer you care.)

Blog by Jack Prest, Producer/ Engineer at Studios 301

For enquiries or bookings with Jack please contact:

Studio Manager Abbey Smith

Email: abbey@studios301.com

Phone: 02 9698 5888

More Jack Prest blog posts

https://studios301.com/news/its-a-producer-focus/

https://studios301.com/blog/jack-prest-analog-v-digital-1/

https://studios301.com/blog/jack-prest-analog-v-digital-2/

Meet our resident Electronic Music Producer and Engineer Jack Prest

With a background as a DJ, Artist and Sound Designer, Jack’s been working as an engineering and producer at Studios 301 for the past 5 years. Recently He’s been increasingly moving towards the role of a finisher. A producer who enters the artists process at varying stages of development (sometimes near complete, sometimes early demos) and takes it to a finished product. This process includes everything from reworking/writing lyrics and top-lines, adjusting arrangements, tracking new parts, working production and a the final mixdown ready for master.

 We sat down with Jack for a quick chat about his role as a producer and what he’s been working on lately.

What do you think your main role as a producer is?

As a producer my main role is realising the vision each individual has for their work. Finding what makes it original and bringing that to the fore while also making it work sonically in the best way possible for the particular style. 

Can you take us through your process of working with artists?

First step is to listen to some demos. For me I need to be able to hear an end goal from the demo or it’s not something I can work on. Then generally a chat either via phone or in the studio to discuss the work with the artist, what they are tying to achieve? where they want it to go? and why they are making it? Once we have established that we both feel like working together can be beneficial then generally we book in a production/mix session to complete one track. If everything works out well then we chat about moving on to bigger projects like an EP or an album. 

 How does working on other artist’s projects differ from working on your own? (If it does at all)

It’s definitely a different process. With my own work I can be completely self driven and make whatever I’m feeling. Working on other people’s records, the most important consideration is what they want to create with their art. I could take their tune and turn it into something completely different but if they don’t feel a sense of ownership and expression with the end result there there is not much point in making it.

 What excited you most about the process?

I have to say the moment of completion. When someone has brought you something they have been struggling with or something they can’t fully realise and you are listening back in the studio and everyone has big smiles cause it sounds awesome. That just makes me happy.

What are some projects to look out for you have been working on?

Currently I’m working on the new Jonti record which I’m really excited about, I’ve also done some great stuff with two young up and coming producers Daily Holla, EP recently released on German Label Emprise Records, and Jerome Blaze. Both are major talents and expecting big things for them in 2016. I’m really vibing working with new artists, it gives us a great opportunity to sculpt a sound and build something together.

 What’s it like working at Studios 301?

One of the great things about being at 301 is working with an amazing crew. I’ve had some great success working recently with Simon Cohen, where I take care of the production and Simon steps in to cut vocals. Working with our assistants Owen and Antonia is so valuable, their knowledge of the studios and the gear means I can focus on the sounds and the big picture and know everything will run smoothly. I’ve been writing some stuff with Antonia and keen to do more of that, she’s got some great ideas. I’d also have to mention the mastering team, I really don’t go anywhere else, Ben Feggans does a lot of my stuff, but Steve, Leon and Andrew are all jedi’s and dependent on who’s right for the project I 100% trust these guys to get the final stage right.

For more information or to enquire about booking with Jack please get in touch.