The Format of the Future is here NOW
As seen in May 2006 EQ Magazine

Recording artists, producers, and engineers alike want their sound to meet or exceed Grammy-winning quality. Separation Mastering can significantly improve your sound while retaining the integrity of your stereo mix. A powerful addition to all other mastering techniques, this format increases the sonic benefits available to your project.

The Separations format involves submitting the final stereo mix from the recording studio as well as a small collection of Separations (typically 4 or more files, e.g. vocals, drums, bass, remaining instruments). Whether it's used for slight refinements or dramatic sound reshaping, Separation Mastering offers the best of both worlds.

Separations are better because they:

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• Stems in mixdown are anything and everything prior to the master stereo buss output... single tracks... multiple tracks... etc.
  Different stems/tracks often send signals to effects processors (such as reverbs) that are shared, but the aux returns from these processors are commonly located elsewhere on the mixer and are therefore not exclusive to one stem or another.
• Stems are used in video, film, 5.1 and live sound production for remixing (anything from subtle to dramatic changes). Stems can be stationary, automated, processed, muted, grouped, edited and more.
•  Stems are used for analog summing "outside the (computer) box." Outboard reverbs and effects may return to the final stereo path via separate channels on the "box." Also the stereo buss insert can put a "shared" compressor or processor over the stems/returns/etc.
•  Stems have been used in mastering, but all of the stem variations can make this complicated... or simple (for example if you were just adding one stem into the stereo mix to increase bass) in order to correct balance issues. Here's a visual example from 1998 when I did a last-minute rebalance of a vocal in the mastering of Juice Newton's "American Girl" CD.

"Separations" are for mastering:

• Separations are a selected number of tracks that form a portion of the final mix. Separations typically use the stereo processing that is on the master buss output. A full set of Separations equals the approved final stereo mix when they are recombined.
  • Separations always include any related aux effects returns, plug ins, automation draws, mutes etc.
• Separations are often fewer in number than stems because they are primarily NOT intended for dramatic alteration.
• Separations are complete because they include the 2-track stereo mix as a reference to honor the artist's original vision - as well as for use in mastering if the client prefers. Both "flavors" increase the possibilities for the final master.
• Separations are for refining - like traditional mastering - but adding the ability to restore certain elements (drum levels for example)
• Separations reduce the worry associated with acoustic masking of details in non-ideal mixing environments.
• With Separations, you tend to orient your thinking more similarly to the way the mastering engineer listens. By knowing that you aren't locked down to two tracks, you mix with a slightly different purpose - to balance your elements correctly and musically.
• You tend to let go of that "last minute obsessing" knowing that the mastering process will accommodate your final musical intentions. You will never get the dreaded "go back and remix it" message from the mastering engineer, and you won't need endless alternate takes!
• Separations can take advantage of both digital and analog tools -- possibly rivaled only by ideal engineering, consoles and ideal acoustic environments. This format can "level the playing field" for engineers, producers, labels and artists who don't have time for trial-and-error projects.
• Separations just make sense.

Do not think of Separations as remixing - however...

1. If the record company wants some last minute edits or level adjustments, you're ready to go.
2. If you've mixed for months and you still feel the blend can be better, refinements can be made.
3. If you can't sort out certain balance issues or low-end problems, more precise control is here.
4. Communication is the key!  Letting us know your preferences and references makes the difference!

If you're the artist, A&R person or producer, we highly recommend that your mix engineer reads this page from top-to-bottom.  Why?  To save you time and money.  Also we want to make it clear that it's best to submit 24 bit stereo files.

Even if your system is 16 bit, make 24 bit Separation files.  Do NOT change the sampling rate from the original mix session!  If your system is 48k, make 48k-24 bit files.  If your system is 44.1k, make 44.1k-24 bit files, etc.

Bringing in a hard drive with your Separation folders is fine, and we recommend also bringing either DVD-Rs (DVDminusR) or CDRs as well.  It you use CDRs, one song per CDR is helpful (and be sure to write the artist name on every CDR or DVD prior to burning the disc).

Note on loud rock projects: We HIGHLY recommend that you separate your drums into two Separations: [Your Song] Drums.aif  and [Your Song] OHs.aif (overheads).  Your Overhead Separation should include ALL hi hats and cymbals that you have blended in your mix.

The Drum Separation should be ONLY drums.  We encounter more issues with cymbals than any other drum-related sound.

This recommendation makes an amazing difference in the sound and it can save money and time needed to process drums.  (P.S.  For a bigger drum sound, have the drummer hit the cymbals softer...)

Click here to see a chart of suggested Separation Layouts

Separation Mastering projects exhibit a more open and "airy" sound.  The small number of Separation tracks gives better width and depth than large numbers of tracks being mixed and summed digitally.

We find that digital summing "in the box" seems to represses the transients and collapses the openness of the sound.  If nothing is changed and we're simply using Separations as your source for mastering, you have already achieved an improvement - sometimes as much as re-clocking with a precision low-jitter clock.

About the cost: The mastering cost factor can be the same as traditional mastering when pro's bring in commercially competitive mixes. Example: If the lead vocal needs de-ssing, it's easier for us to de-ess the Separation than it is to de-ess the whole blended 2-track mix in the traditional fashion. It's better to de-ess the vocal Separation because we don't have to think about compromises when a de-esser can dull the cymbals, snare or other instruments in a locked-down 2-track mix. Example: If we need to roll low end off the kick drum, it's just as easy to apply a high-pass filter to the drum Separation as it is to do it to the whole mix, and the tone of the bass (if separated) and rhythm instruments won't be altered. We won't be spending time with compromises that can occur when you only have a 2-track source.

What if you want some optimizing of the mix balance?

As a part of our service, we can rebalance the mix for another level of improvement if the client requests it.  This can be as simple as a few tweaks, or it can be very creative and powerful - which can take time and can add to the cost.  Note that if you are in the beginning phases of your engineering career, a 20-to-30 year engineering veteran in the mastering room can work wonders on your project.  But we don't recommend that you mix with the intention of having us add your reverbs.  We prefer that you get your mixes the way you want them -- but yes, we can add high quality reverb (or even delays) or make creative edits if you request it.

Interesting: Some engineers, once they start making Separations, hear things they didn't hear previously while mixing.  It's tempting to tweak more when you hear the tracks separated from the others, but it's a mistake to change anything unless you go back and re-printing the Full Mix.  Example: Doing additional gating of drums or changing the levels or processing on the tracks upon hearing them separated!  Remember, every aspect of your mix must be there in the Separations.

Key: If you change anything in your Separations, go back and remake your 2-track stereo mix.  Your stereo mix must be exactly the same.  Double-check!

More on cost: When we are asked to get into deeper sonic crafting, the cost is proportionate to the work.  Volume draws to create a more consistent vocal blend can take time.  Fine-tuning drums with EQ and level correction can take time.  Edits and defect removal can take time.  But considering the time it takes to book more mixing time, A-List mixing engineer expenditures, scheduling, transportation and coordination issues.... Separations can leverage a proportionately short amount of time into a very large sonic advantage for you.  Just remember, your budget plan should match your product goals -- given the level of mixing experience and acoustic accuracy of your facility.

Even more advantages

Separations give you insurance against mix burnout as well. As Quincy Jones said (paraphrased), "We never finish our projects. We simply abandon them." Now when you're finished, you can rest easier knowing that the mastering session can resolve any final debates. Separations replace the need for cumbersome alternate mixes. It's a total package that gives a secure guideline for anyone who want A-List sound but doesn't have the time for trial-and-error projects.

New development: A response that we get more and more is that clients tell us "Now that I know what you can do in the mastering room, I'll mix my next project differently.  It will be easier because I don't have to be so obsessive over details that are better addressed in mastering."

This is cool because what they are saying is that they can do "less" in their mix and get "more" in the mastering room.  We've all heard the engineering phrase, "Less is more." which really means that "less" of one thing will leave space for "more" of something else (kinda like the teeter-totter principle).

Less pressure at mix time (due to Separations) can mean less of a tendency to over-process. Just remember to use your best judgment because you should love your mix when it leaves the recording studio and comes here.  Separations are re-defining and expanding the role of mastering -- as well as the results you can expect to achieve.

Click here to see more details on how to record Separations

Check out the article in the May 2006 issue of a EQ Magazine and the 2007 book, Mastering Music at Home!

Want to try out a song using this format?

Please email us for more answers to your questions. (Please put the word "Separations" in the subject line so we know it's not spam!)  Want to try out a song using this format? We'll send you a mastered edited version so you can hear exactly how it sounds with no obligation.  Use our convenient FTP site or send $20 bucks to cover postage and handling.
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