# Pre-Mix Templates



## composerguy78 (Sep 18, 2018)

I didn't want to thread jack the thread titled 'Mix as you go?' so I thought I would start a fresh one about Pre-mix templates as this is where the discussion seems to be heading. 

I am realizing that the nightmare I have been having in bouncing stems at the end of this project is because my template is not 'pre-mixed' enough. By that I mean that the sub groups are not split out properly.

I would really like to hear any tips about how you have your template set up to help be efficient in delivering stems and mixing in general. I am going to be setting up a new template for my next movie shortly.

Admittedly the template I used for this movie I'm wrapping up was a new system and the main inefficiency culprit is a not having enough separation of sub groups. The way I had it laid out is basically by sample library eg. Symphobia Strings. However, that isn't very efficient because when it comes to making stems I need to have High Strings, Low strings/Bass etc. 

Does anyone have any suggestions for this?


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## goalie composer (Sep 18, 2018)

composerguy78 said:


> I didn't want to thread jack the thread titled 'Mix as you go?' so I thought I would start a fresh one about Pre-mix templates as this is where the discussion seems to be heading.
> 
> I am realizing that the nightmare I have been having in bouncing stems at the end of this project is because my template is not 'pre-mixed' enough. By that I mean that the sub groups are not split out properly.
> 
> ...


I recently watched this video of Mac Quayle explaining his approach to scoring American Horror Story. At the 25:46 mark he begins to describe his stemming approach. If you look at his screen you can see all of the stems that he delivers. Hopefully this will give you a good start!


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## Michelob (Sep 18, 2018)

Hi composerguy,

Basicly, when you start a project, you need to know as soon as possible what stems you'll have to deliver. It depends of the mix guy and of course the media (TV, theater...). As far as I'm concerned, I met various needs from single stereo mix to more complex stems.

Then you'll be able to structure your template properly.

Its organization needs to be done relatively to your customer, not your composer's internal logic.

The first time I had to deliver separate stems, I wasn't told until maybe 2 weeks before delivery roflmao. I had then to start again every Reaper renderings (title after title), then put them anew in my master project (the whole movie), to be able to make a good final render for delivery. Now I ask first, I can tell you.

That means that you must be very rigorous and export the individual titles always in the same way, with the same tracks, then place them in the right places (vertically) in the general template.

By practicing this way, you save a lot of time, and your deliveries are clean and make the mixer your friend.

Michel

Edit : and by the way, exporting stems (strings, brass, synths, bass, drums...) then importing them in the timeline project incredibly opens your mind to the infinite possibilities of the music edition. You learn to betray your own music for the best part of the narrative... but that's another story


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