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With *stems* I mean sub-mixes. Like breaking up the full mix into sub-mixes. One could be all the soft and airy sounds like high strings, flutes and maybe synth pad textrures. Another stem could percussive stuff, or reverb. The idea is to make sure the music will work well in the movie. All stems have to be flied into the film mix in sync, it's not about "cues" which means parts of music that can be thrown in anywhere it fits to picture. About side-chaining. In Logic three plugins can be used for side-chain: Compressor, Noise gate, Autofilter. --> Compressor: When sidechained the compressor does not react to the audio of the track it is slapped over but to the audio on a different source track. It reacts as if source audio level goes up compressor brings the level down. --> Noise Gate: Works like the sidechained compressor but the other way around; when source audio goes up the Gate lets through audio. It's just like an on/off switch. Great for rough industrial music where you might want to use live percussion track to trigger percussive chunks from instant traffic noise, or whatever. --> Autofilter: The filtering effect follows the source audio amplitude. Good for things like making an instant pad sound go wha-wha with the intensity of any other track's audio Of course all this works best if used at a subtle level, I'm just exaggerating as example ;-) Logic is kind of implying the classic analog studio production environment with sound source, mixer and a patchbay of effects. Logic has no function like Max For Live or Numerology where you can take the amplitude of a source track and adapt that to any software parameter. In Logic it works like in a mixing studio, but you can do a lot with that by sending source audio into a bus set to "no output" and then assign that bus as the source for a side-chaine somewhere else in the mix. This would be the way to set up a thing like, for example, having the mid range part of one instrument pump the level (or timbre of using the Autofilter) of side-chained track's audio. As for the tip about the phasing mastering matrix, it actually IS the remedy for the classing mono issue! I wrote that. The plugin Logic has that offers all these processings is called Utility. Yes, this is a mastering process and should be applied to the full mix (or stems). The technical way in Logic would be to either bounce out a file and import three clones of that into a new session document or to simply route it properly in the first composition document's mixer. That routing means sending all tracks and submix busses to a special summing bus (instead as to the main output). This submix bus is set to "no output" and then used to send three clones of the signal (at 0 dB) to the three bus/aux tracks used for the matrix fix. Sorry about the long post, just trying to help out by answering some simple questions ;-) These are just tools, the decisions of how to use them must be based on the music. Greetings from Sweden Per Boysen www.perboysen.com http://www.youtube.com/perboysen On Sun, Feb 12, 2012 at 1:28 PM, mark francombe <mark@markfrancombe.com> wrote: > As "Per" usual, some amazing ideas here Per, and as usual some questions > get > thrown up. Ill try to be as brief as poss... > > Per Boysen wrote: > >> No request for mix by stems from the producer? If the team doing the >> film mix is good that can help out the music to sound better in the >> movie. > > > Just some proffesh biz terms I dont understand here Per, I always use > /and > encourage my team to use grass roots, common sense expressions, so as to > not > alienate customers, however, Id like to know... > > Stems? Do you mean short sections of music that they can use where-ever > and > edit themselve into the picture? > No, I delivered some "stems" to get the job, which they loved, but now I > am > literally scoring "to picture" but dropping the movie edit into Logic. > It a > fascinating way of working, with its own challenges, but fantastic > because > you see the change in emotion you are making to the film, as you go. I > argued for a cut with the director for example where she hung very long > on > the "wife" after a scene was basically over. Working in business films > as I > do, we are as snappy as fucking possible... Like CSI editing.. ha ha.. > and > here she said, NO mark, I want to focus on her pain... this, gave me a > totally different way of thinking about the end of my music. instead of > fading gracefully, I brought in a big expressionistic crescendo of brass > and > whatnot... changed the whole scene, became very melodramatic.. > > > >> Any more "live making" techniques? > >> I think the general "holy graal" in mixing recorded music is >> side-chaining. > > > snip snip > > Yes I was afraid you might say that.. ow.. First I don know how to do it > in > Logic. Although I used to do it all the time in hardware, side-chain the > kick drum channel to the bass guitar of course is the classic. > or the guitar channel to the hi hat, for that in synch old school tremelo > sound.. > > Yeah... so how? > and should I make groups then... (again Ill be looking in the manual > here) > but IM guessing you mean that I should put cellos and choirs and bass > outputs to a new Aux... then use the clarinet or violin tracks to side > chain > to that aux track correct? (again how..?) > Or what? How would you divide the tracks? For example I love to use a > VERY > low doubke bass, almost as the drum, scrape scrape scrape, in the back > gtound.. at the start, its at the front, but when all teh music comes > in, it > a bit overpowering.. I usually just back it off in the mix, but should I > SC > that? > >> >> >> Another general tip: >> you might want to make the stereo perspective extreme, > > > snip > > Interesting point.. go on.. Im listening.. > >> >> Revers stereo image for channel one, phase >> invert and lower the level a tiny bit for channel two and make channel >> three mono. > > > OK hear I'm scare.. did you say reverse phase? Is that safe? I remember > all > sorts of broadcasting disasters when things were turned into mono > before... > And did you mean, "one the whole darn mix.. so after I have made a nice > mix, > THEN do this process above? Sounds like you are going for the recording > version of "that Eno Trick" he put on the back of one of his Ambient > albums, > for adding a third speak to your stereo system for "instand Quad sound" > (well not quadrophonic, I suppose Tri-ophonic) > > Thanks > > > M > > > -- > Mark Francombe > www.markfrancombe.com > www.ordoabkhao.com > http://vimeo.com/user825094 > http://www.looop.no > twitter @markfrancombe > http://www.flickr.com/photos/24478662@N00/ >