Bounce et export des stems
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Dov WatermanDov montre comment bouncer et exporter ton morceau en stems dans Logic : en groupant dans des folder tracks et en réglant les bons taux de 48 kHz pour livrer au client.
Le contenu du cours
14 leçons (0h 33min) · 1 gratuites
01. Introduction au mixage et à l'automation
Leçon gratuite0:45
02. Peaufiner ton morceau
2:52
03. Aborder le mixage : organisation et réglage des niveaux
6:42
04. Élargir le son de la batterie
3:47
05. Side-chaining
2:42
06. Mesure pré-fader vs post-fader
2:45
07. Quantification et flex-timing
2:05
08. Vérifier les niveaux et ajouter de la compression
1:18
09. Traitement créatif et effets
3:14
10. DEVOIR : Track Alternatives
1:02
Transcription de la leçon
Preparing Your Mix for Clients
Once my track is mixed and I've leveled everything, along with some automation on various tracks to maintain a linear flow, I'll discuss getting the mix ready for clients in stems.
Sending Content to Clients
Collaboration is key! Consider how your clients prefer to receive their content. This can vary depending on the type of client, whether it's a production house, TV, broadcast, or other media outlets.
Standard Requirements
For broadcast purposes, there are specific standards:
- Bit Rate: Usually set at 48 kHz.
- Sample Rate: Consistently maintains at 48 kHz as well.
I'll bounce down files into folders maintaining these appropriate rates and sample sizes. My audio tracks are already grouped into stems, making it easier to work with folder tracks for bouncing.
Bouncing Stems
Clients typically request:
- Stereo tracks
- Bounced stereo tracks of various stems
The Bouncing Process
- Solo the Track: Start by singling out specific tracks you want to bounce.
- Check Levels: Ensure your levels and parameters are correct.
- Set Sample Rate: Confirm it's set to 48 kHz for broadcast and media.
- Bounce it: Press OK, choose your save location, name the file, and initiate the bounce.
Additional Stems
Depending on the client's needs, I may also bounce out:
- Reverb Stems: This includes auxiliary effects or sends.
- Drum Bus: Everything routed to the drum bus will be considered, whether it's vocals, drums, or other components.
This process enhances the level of control for clients, especially those working on remixes or layering under dialogue.
Final Thoughts
In my experience, much of my work ends up in trailers, which often feature significant dialogue combined with heavy sound design. Clients appreciate the ability to control what they pull out and mix in, so I always ensure they have access to the necessary stems, sometimes just the reverb bus, for their projects.
By following these steps, you can ensure your mix is client-ready and you provide them with the flexibility they need in their productions.
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Dov Waterman est compositeur, pianiste et producteur. Il a écrit et conçu le son de films tels que After Earth, Terminator Genisys, Transformers: The Last Knight et The Snowman, et travaille comme monteur audio de bibliothèques de samples et sound designer avec des sociétés comme Native Instruments et SonoKinetic.
Sa série Composition in Logic parcourt la construction d'un morceau de bout en bout dans Logic Pro — des templates et du workflow jusqu'à la synthèse et la programmation de beats, les effets MIDI, le montage et le mix final — pour les producteurs qui veulent transformer leurs idées en disques aboutis.
