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Separations - The Format
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Separations are easy! No added
equipment or plug-ins are necessary!
You can benefit by creating from 2 to
8 Separations.
Here's an example of 4 Separations.
Start by making a folder on your hard
drive and label it with the name of
the song you're working on [Your Song].
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Simply record
your normal completed 24 bit stereo
mix. Name the file [Your Song] Mix.aif
(or .wav, SDII, etc.) and put it
into the [Your Song] folder (no
brackets needed!).
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Then without
changing any level, any plug-ins
or anything else, Simply mute (or
disable) all tracks except the drums
and record the drums-only portion
of your mix to a separate 24 bit
stereo file (with all drum-related
reverbs and effects). Name
the file [Your Song] Drums.aif (or
wav, SDII, etc.) and put it into
the same [Your Song] folder.
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Mute (or disable)
all tracks but the bass - record
the bass-only portion of your mix
separately (in 24 bit stereo with
all related bass effects). Name
the file [Your Song] Bass.aif (or
wav, SDII, etc.) and put it into
the same folder.
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Mute (or disable)
all tracks but the remaining instruments
- record the instruments portion
in 24 bit stereo separately with
all related effects. Name
the file [Your Song] Instr.aif (or
wav, SDII, etc.) and put it into
the same folder.
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Mute all tracks
but the vocals - record the vocals
portion separately (24 bit stereo
with effects). Name the file
[Your Song] Vocals.aif (or wav,
SDII, etc.) and put it into the
same folder.
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You have now recorded five files
including four Separations into the
[Your Song] folder.
Hint: If you know your song
order, number the folders 01 [Your Song];
02 [Your second song]; 03
[Your third song] etc.
Important! Be SURE you leave
your computer automation ON for each
Separation so that every sonic move
you make in your stereo mix is retained
in the Separations.
In cases where you can't change your
mutes (because of the automation), use
solos or highlight-select the tracks
you are separating. Some engineers
solo the tracks they are separating
- drums, bass, etc.
Use either solos or mutes -- so long
as every element in your mix, every
plug-in, every automation move, every
musical component goes into a unique
Separation.
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There are 2 common ways that people
are making Separations:
- Simply to mute (or disable) the tracks that you don't
want in a particular Separation. For instance to make a
drum Separation, simply mute all tracks but the drums! To
make a vocal Separation, simply mute (or disable) all tracks
but the vocals! ...and so forth. So long as your "multitrack"
(Logic, Digital Performer, Roland, Akai, Pro Tools, etc.)
is digital and your 2-track "mixdown" is digital (bounce
back into the computer, digital loop-back into the computer, Masterlink, etc.) you can make Separations. Analog machines
can be used, but contact us
for details.
- Solo the instruments you want to use in a given Separation.
Each time you solo a group or selected instrument, take
careful notes and write down what you've soloed and what
you haven't - keep track of your tracks!
Another method is to assign your tracks to stereo or mono
subgroups - and send those subgroups to the stereo output
(digital and analog). Here's some examples:
- All the drums and their related effects are
panned and mixed in a normal stereo fashion and
assigned (or sent) to a stereo subgroup. Assign
this group to the stereo mix output. Individual
tracks are not sent to the stereo mix - only the
group output goes to the stereo buss.
- A bass subgroup including related effects is
similarly sent to the stereo output.
- All guitars and/or rhythm instruments are assigned
in stereo to a subgroup.
- Lead vocals w/ reverbs and effects have their
own stereo group.
- Backup vocals, percussion, brass/effect and
solos, etc. are assigned to a group.
See a chart of suggested
Separations
Key: When you mute all your groups, there should be no
sound coming out of your stereo mix. This is a good test
to be sure that you have assigned every track and every
related effect to a group.
IMPORTANT: Include a click or some peak sound just before
the song begins. The same exact click at exactly the same
volume should be heard at exactly the same time at the beginning
of every recording pass. Each pass will become a separate
file that we will line up sample-accurately. Everything
has to play in sync. This isn't necessary if you are certain
that you are starting each and every pass at EXACTLY the
same time. However, the click is an excellent backup plan
and we highly recommend it.
The Recording Process
- Record your stereo mix as you normally
would and save it into a Separations Folder
that is named specifically after each song.
The corresponding file could be named
something like [your song]full_mix.wav or
[your song]full_mix.aif (We prefer SD11
files.) You don't need to put the brackets
in the actual file name.
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- Make another recording pass, but
mute or disable all tracks (or groups)
except the drums. Be sure there are no
effects from any other tracks being heard on
this group, other than drum effects.
Remember to include that reference click
before the song starts. Be sure that there
is no reverb from that click. You've now
created your drum Separation. Name the file
something like [your song]drums.wav or [your
song]drums.aif (SDII is preferred.)
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- Make another recording pass, but
mute or disable all tracks (or groups)
except the bass and it's pertinent effects.
Include the reference click and you've made
your bass separation file. Name the file
[your song]bass.wav or [your song]bass.aif
(SDII, etc.) Leave off the brackets.
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- Make another recording pass, but
mute all groups except the rhythm
instruments. Check the effects.... include
the click. Name the file.
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- Make another pass in a similar
fashion for the lead vocal group.... and so
forth till you've recorded and named all the
Separations.
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- Each pass must start from "time zero"
even if the sound on it doesn't occur till
the middle of the song! Once there is no
more sound on that group, you can stop
recording it.
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- In some cases, effects that are
sent "pre-fader" will still be generating
that effect, even if the faders are muted,
which is why all related effect returns must
be sent to the group they go with. You can
also "disable" or "freeze" tracks so that no
pre-fader effects bleed into the wrong
separation.
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- Record each pass and "Save As" 24
bit, if your system will allow - even if you
were at 16 bit in the recording process.
Don't ever record at 44.1 just because "it's
going to end up on a 44.1 audio CD." Always
record at the highest resolution possible
for your needs. The files for your
Separations should be stereo interleaved
when possible.
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- Store each pass into the Master
Separations folder. Be sure to CLEARLY and
systematically label or name all of the
files - these are your Master Separations.
It is important that you make separate
folders for each song and clearly mark what
song and what files are within that folder.
Use the 3-D's. Document, Describe and Detail. Organize your
materials and files! Include a plain text or
Word file in the folder with any notes you
have about each song - questions you may
have - any notes for the mastering engineer.
The Separations eliminates the need for time
consuming alternate mixes - vocal up, vocal
down, etc. because your notes to the
engineer can explain any options you would
like explored during the mastering session.
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Be sure to include the stereo mixdown in that folder! That
is the critical reference that ensures that everything meets
or exceeds the sound of your final mix. We will line up
and A-B compare your Separations with your 2-track stereo
mix to be sure that any mastering enhancements retain the
integrity of the mix - as would be the case in traditional
mastering.
In the analog domain we can use the Nautilus
Commander which is perfect for these A-B comparisons. The
A-B process is KEY in this whole process and it's part of
what makes this a holistic system - not just another name
for stems.
Tip: it's usually good to have a master fader on your DAW
mixing "console" to check your levels for digital overs
(clipping) but then remove the master fader when you are
making your final mix and your Separations. Very helpful:
DO NOT try to max out your stereo output level in order
to make a "hot" mix - leave a couple dB of headroom. You
can always put your finished stereo file back into a digital
editor or Masterlink and bump up the level. The sound is
what's important, not the final level. (In fact, hotter
pre-slammed mixes can box the mastering engineer into a
corner, if not done carefully.) The mastering process will
achieve your volume level goals.
Important: Do not change ANY levels in those subgroups when
you are making your Separations. Change nothing. Only mute
(or disable) the various groups required to reveal each
one being recorded separately.
When we line up your Separations
in our source DAW, all the levels you created will be the
same in our system so long as this procedure is followed
correctly. You might even wish to confirm that your files
are correct ahead of time by opening up a new mix session
in your DAW system, loading in your Separation files, and
listen to be sure you've recorded everything correctly.
If you're using a common SEND going to your outboard effects,
that shouldn't affect Separations. You simply keep the returns
going into the mix each time. The send level should keep
the same amount of effect whether you're mixing certain
tracks to stereo separately or together.
If you want to
test Separations, simply make a set and recombine them in
your DAW along with your stereo mix. If you mute your stereo
mix and listen to the separations, you should be able to
SOLO the stereo mix (all settings at -0- and hear a comparison
between the two formats on your own system. That way you
can check to see if all effects elements are coming out
the same in both formats.
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