DOWNLOAD THE SINGLE-PAGE VERSION OF THE GUIDE HERE:
INTRO
Hi all! I've had the pleasure of working with many different artists and producers at a variety of skill levels from amateur to professional, but one common question I get all the time is:
"How do you want me to send the stems?"
So in an attempt to answer this question, and provide my own clients with an easy to understand process, I've created this guide. After reading this guide, you'll have a professional system for preparing your track for mixing. This will not only make life easier for you and your engineer, but it will also serve to boost your chances of a good mix as those who receive your stems will get an immediate sense of your professionalism.
First, I'd like to clarify some frequently confused terminology:
Multitracks:
Definition: Multitracks are all of the individual tracks of a recording or instrument
For Example: "Kick," "Snare," "Hi-Hats," "Toms," "Overheads"
Each track of a multi-track can be either stereo or mono
When is it useful? Exporting multitracks for a mixing session gives the mixing engineer as much control as possible over each individual element of the mix which can often result in an even better mix
Stems:
Definition: Stems are generally stereo tracks of the entire group of instruments or a group of similar tracks summed to a single track
Example of stems: "BG VOXES," "DRUMS," "RHYTHM GUITARS"
When is it useful? Stems are most useful when you need to prioritize streamlining the process and feel that grouping related elements will be easiest to handle and send around without losing the production elements. This is usually best for collaboration between producers or when you need to send a session to a recording studio in order to add more elements to it.
Example 1: Your band can send the stems of your demo mix so a recording studio can track new string parts in sync with the original.
Example 2: You produced a whole track and need to send it to the vocalist to record, but they want control over the instrument groups to make it easier to hear themselves.
Okay that's great! So what do I send?
I recommend sending multitracks for mixing sessions. When you send multitracks to your mixing engineer, they have maximum flexibility; they can adjust each instrument independently, apply effects, and shape the music precisely according to your vision.
STEP #1: Prepare a Demo Mix
Before submitting your stems, invest time in refining your track to the best of your ability. Whether you’re the artist or working with a producer, it’s crucial to present your work in its optimal state. The adage "you cannot polish a turd" holds true in audio production— there is no such thing as fixing poorly recorded or inadequately produced material. By meticulously creating a demo mix for your track, you provide the engineer with a clear understanding of your artistic intent. As a result, you’ll receive a more efficient mix that closely aligns with your vision.
STEP #2: Label All of Your Tracks Accurately
Before bouncing your tracks, I strongly recommend labeling everything with as much detail as possible. One of the most significant inefficiencies for engineers arises when they encounter an extensive list of cryptic track names such as ‘Track 1,’ ‘Vox 2z Blah,’ ‘bgs,’ ‘SFX Stuff,’ ‘Synth thingy pad noise,’ or ‘gtr louder 3.’ While these labels may have been jotted down in the heat of creativity, deciphering this puzzle consumes valuable time and can lead to mix errors.
To optimize this process, it's important to invest time in revisiting your tracks and providing clear, descriptive labels. By doing so, you eliminate any ambiguity and ensure seamless communication between you and your engineer. Not only does this practice maintain better organization, but it also reflects your professionalism—a factor that can significantly influence the engineer’s collaborative approach and attitude.
Recommended Track Naming Practices:
While there isn’t a universally standardized method for labeling tracks, I’ll share a concise version of my conventions. Following these guidelines will help ensure that your work remains organized and clear for your engineer:
Individual Tracks (Multitracks):
Begin with a capitalized first letter for each individual track.
Follow it with a number or a helpful descriptor (e.g., “Lead Vocal 1,” “Guitar Solo,” “Kick Drum”).
Maintain consistency in your naming approach across all individual tracks.
Group Tracks (Stems) if requested:
Use FULL CAPITALIZED WORDS for group tracks.
Group tracks typically represent broader sections (e.g., “Drum Group,” “Backing Vocals,” “Synth Section”).
By adhering to these practices, you’ll keep things in order and help streamline the file sharing process with your mixing engineer.
STEP #3: Comp and Tune Vocals
While it’s tempting to leave certain tasks to the mixing engineer, I would argue that some of these responsibilities lie more in the realm of production than pure mixing. In my opinion, comping and tuning vocals fall into this category. By addressing these tasks beforehand, you empower your mixing engineer to focus on technical nuances—such as balance, color, levels, effects, shaping, and dynamics—rather than creative decisions that only you, as the artist, fully grasp.
Consider this scenario: You have a strong preference for “Take 4” of a particular vocal performance. However, every take was recorded without technical flaws. By leaving the choice solely to the mixing engineer, you risk missing out on the emotional nuances that make your music unique. In the end, no one understands your artistic intent better than you do.
Taking the initiative to prepare a comprehensive vocal comp that resonates with your vision is a significant stride toward achieving the desired mix. Additionally, I recommend communicating with your engineer about any extra comps you may have. This way, if they require alternative takes for specific phrases or sections, they can request them. You can either send these separately or collaborate with your producer to create a new comp.
In summary, proactive vocal preparation not only streamlines the mixing process but also ensures that your artistic vision remains intact.
STEP #4: Create a MIDI Tempo Map (Optional)
When working with tracks that feature tempo changes, consider sharing a MIDI Tempo Map with your mixing engineer. While the process varies across different digital audio workstations (DAWs), I recommend the following approach:
Create an Empty MIDI Item:
Generate an empty MIDI item that spans the entire project duration.
Place quarter notes on the C3 note from the project’s beginning to its end.
Importance of the MIDI Tempo Map:
By sharing this file, you ensure that your track aligns precisely with the mixing engineer’s tempo grid.
It eliminates any uncertainty regarding tempo variations.
Simplified Scenario:
If your track maintains a consistent BPM throughout, labeling your demo mix with the project tempo may suffice.
STEP #5: Export/Render/Bounce the Audio
When preparing stems for your mixing engineer, follow these best practices:
Sample Rate and Bit Depth:
Render all audio files at the highest sample rate available, which typically matches your project’s sample rate.
For instance, if you recorded and mixed at a 48kHz sample rate with a 24-bit bit depth, export the stems as 48kHz/24-bit PCM WAV files.
Avoid downsampling—stick to the original sample rate to maintain fidelity.
File Format Choice:
Uncompressed and lossless WAV files are recommended for exporting stems. These files preserve audio quality without any data compression.
While AIFF files are also PCM (pulse-code modulation), they include additional metadata that increases file size. WAV remains the industry standard and is endorsed by the Audio Engineering Society.
Avoid Lossy Formats:
Never use lossy audio formats such as MP3, m4a, or AAC for stems. These formats sacrifice audio quality due to data compression.
Opt for formats that retain the full audio resolution.
Stem Length Consistency:
Export all stems to match the entire length of your project. This ensures seamless integration when dropped into the mixing engineer’s session.
Avoid partial stems or clips that require alignment, as this can introduce errors.
Avoid Digital Clipping (+0db digital):
Do not send tracks with digital clipping. Clipped audio is distorted and unusable.
Monitor your levels during recording and ensure proper gain staging to prevent clipping.
Alternatively, consider using 32-bit float files. Unlike fixed-bit-depth formats, 32-bit float provides an extended dynamic range, allowing for levels above 0 dB without clipping. It’s a valuable safety net during recording and mixing.
What to include in the delivery folder:
Full Demo Mix
MIDI Tempo Map File
Tuned & comped Vocals dry
Tuned & comped Backing Vocals dry
Multitracks of Instruments dry
Multitracks of Drums and Percussion dry
Any additional SFX If Requested:
Tuned & comped Main and Backing Vocals wet
Group Stems for each Section (i.e. "BRASS" "SFX" "DRUMS")
Buss FX Stems
When providing multi-tracks, it is advisable to exclude FX and processing unless they are absolutely integral to the sound and cannot be faithfully replicated by the mixing engineer. Clear communication between you and the engineer will determine the optimal approach.
Workflow Techniques:
DAWs usually include a way to name the exported files in an easy and automatic way when bouncing multi-tracks and stems. I use Reaper, so the wildcard symbol is $. That means my exports look roughly like this:
[Artist]_$Project_$Track_[Version#].wav
Which automatically exports my tracks like this:
JH_Moon Beats_BG VOXES_V4.wav
JH_Moon Beats_Lead Vox Chorus_V4.wav
JH_Moon Beats_Kick_V4.wav
JH_Moon Beats_Snare Distorted_V4.wav
DO NOT label anything with the following words:
"final"
"final mix"
"last version"
"latest"
"most recent"'
"best version"
"favorite"
"finished"
"done"
STEP #6: Sending The Files:
Create a Cloud Folder:
Begin by creating a folder with a clear naming convention: “[Your Initials] [Project Name] STEMS [Version #]” for example.
Directly export all stems to this folder or copy them into it after exporting.
These days, there is no need to .zip the files because everyone's internet is relatively fast, but sometimes it will result in a faster upload and download if you are somewhere it isn't or if your engineer has relayed this is their preference.
Email Delivery:
Send the entire folder to the mixing engineer via email.
Ensure that the email subject matches the folder name for easy reference if the engineer needs to go back and re-download older versions or missing files.
Cloud Service Options:
You can use any cloud service—such as Dropbox, OneDrive, iCloud, or WeTransfer—for sharing.
However, I recommend sharing the folder as a link within the email, rather than using the “share folder/file with” function. This approach streamlines access and prevents your engineer from sifting through multiple emails from DropBox or WeTransfer to find the original link.
Professional Sign-Off:
I recommend concluding your email with a courteous sign-off: “Let me know if there’s anything else you need.”
Conclusion:
I trust that this guide has provided valuable insights and practical solutions. Although initially this may have seemed complex, it becomes second nature with practice. As you embrace these organizational habits, your projects will become easier and all of this will be a testament to your efficiency and tidiness.
With this system, you will give everyone a great impression of your professionalism and discipline which sets the tone for your work and keeps the bar high for anyone putting their hands (or rather their ears) on your project.
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