This is why the Wisconsin Youth Symphony reached out to our studio. They wanted us to put together individual videos of each member of the orchestra so the students could have a “performance.” The students would film on their own at home, send us the files, and our team would create a composite video and mix the audio. The song? Rossini’s William Tell Overture Finale.
The main thing to bear in mind is that you’ll need to duplicate some resources here. On a regular mix you only need one of every effect, say reverb and one delay. But when stemming you need one of these for every stem, routed to the relevant stem bus. Otherwise, you’d have the effects of all the different stems on one stem, and the point is to separate things. So if you’re creating four stems you’ll need four sets of effects busses. You can imagine how quickly this will start to take up system resources if you’re printing a lot of stems, and especially if you’re working in 5.1 or 7.1
Simple enough to create effects tracks for each stem. Just have to remember to do it when mixing the project.
In the Logic Pro X world, if you’re using summing stacks, you might simply want to insert the effects on the stack and use the mix control knob to adjust the levels appropriately. If the recipient of the stems insists on separate effects tracks per stem, well, OK…that’s just not that hard to do.
A good practice would be to create a track for the effects bus (need to do this anyway if you want to bounce the stems) and place it right along with the summing stack in the arrange area.
Many of us have wondered if there’s a technical difference between gain and volume. The answer is “yes,” even though the terms sometimes seem to be used interchangeably. The most important distinction between gain and volume is how, or more precisely “where,” they factor into the signal path.
Gain and volume. Keys to good recordings and mixing. It’s hard to mix tracks that aren’t “printed”. If I’m trying to level/balance one track and I can’t pull down a fader on a different track (and have it stay there) then I can’t easily adjust the levels of tracks.
This text is entirely a “quote” from the above website.
Number one is the Don’t Stop Believing Progression, I — V — vi — IV (G — D — Em — C). The Axis of Awesome did a great bit about this one in which they play 40 songs in a row that all have the same progression including, No Woman No Cry, Let It Be, I’m Yours, etc… and over the past few years, that list has become a lot longer!
The second is the 50’s Progression, I — vi — IV — V (G — Em — C — D). I call it this because it was hugely popular in the 50’s and 60’s and is still used today. Notably used recently by Justin Bieber for “Baby” (Justin was like baby baby baby oh… what a pity) and Sean Kingston for “Beautiful Girls,” though Kingston really just ripped Ben E. King’s “Stand By Me” off.
The third is the Canon, I — V — vi — iii — IV — I — IV — V (G — D — Em — Bm — C — G — C — D). It was the chord progression used by Pachelbel for his Canon in D (not G as above). The piece, forgotten soon after it was written (around 1694), was rediscovered in the early 20th century and has influenced a number of songwriters. It is, however, simply an extension of the basic I — IV — V — I progression that was used by nearly every composer for hundreds of years up to about 100 years ago.
The fourth is the Blues Progression, I — I — I — I — IV — IV — I — I — V — V — I — I (G — G — G — G — C — C — G — G — D — D — G — G). This is the way Chuck Berry played it in Johnny B Goode though the last 4 chords are often V — VI — I — V (D — C — G — D). There are 12 chords because it follows the standard 12-bar blues progression. In this progression it’s common to switch freely between major and minor. This progression has been used in thousands of songs outside of the blues from Cream’s Sunshine Of Your Love to Tracy Chapman’s Give Me One Reason and beyond.
The fifth is the Smoke on the Water Progression, ii — IV — V (am — C — D). It’s usually used as part of a larger progression and was used in Purple Haze, Iron Man, House of the Rising Sun, Stepping Stone, etc…
The sixth is the Good Love Progression, I — IV — V — IV (G — C — D — C). This was used in Wild Thing, La Bamba, and Good Love, etc.
The Seventh is the Sweet Home Progression… (god, how I hate Sweet Home Alabama!) V — IV — I (D — C — G). Can’t Explain, Sweet Child of Mine.
The Eighth is a rearrangement of the Don’t Stop Believing progression vi — IV — I — V (em — C — G — D). I’m not sure what to call this one. The song that always gets stuck in my head with this one is The Red Hot Chili Pepper’s Snow, though I know Taylor Swift uses it in at least three songs (as well as most of the other progressions above…), Green Day used it in Holiday, and The Cranberries used it in Zombie, just to name a few.
The ninth is the stereotypical Descending Flamenco Progression vi — V — IV — III (em — D — C — B (not Bm!)). This one has been used in songs from California Dreamin to Stray Cat Strut… I’m sure you can think of a few more! A variation on this is vi — V — VI — V (em — D — C — D) which arguably may be more popular today…
And the tenth that I see is the As My Guitar Gently Weeps Progression. This one straddles two keys and it’s basic representation is ii — I — V6 — bVII (- VI) (am — G — D/f# — F (- E)). It looks like a variation on the Descending Flamenco Progression and is presented with slight variations by everyone that uses it. The Beatles actually substituted an am7/G for the G chord and left out the E. Chicago, in 25 or 6 to 4 focused on the root notes in the bass -> A — G — F# — F — E. Led Zepplin, Green Day, and Neil Young all offered their variations as well.
‘[3 Tips for Mastering Indie Rock](https://www.izotope.com/en/learn/3-tips-for-mastering-indie-rock.html)’
by Jett Galindo, iZotope Contributor May 28, 2020
Rock music has stood the test of time, making it one of the most enduring genres of the modern era. With today’s production tools becoming more and more advanced—and more accessible to a wider audience—one particular rock subgenre is thriving more than ever. In this article, we’ll take a look at some tips and tools for mastering indie rock and nailing the indie rock aesthetic.