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Originally Posted by charles maynes  Good point- however this is not really catering to composer and music editors pre-se- more to post mixers (NOT music mixers) and editors.
And I would say that the "stem" term seems to have really started catching on with the idea of doing subgoups out of ProTools to summing mixers-
On Music stages (doing film music at least), In my experience pre-mix is a more common term.
But alas, that is why we are talking about it-
I would like to think that we are again talking about this not to the purpose of everyone defending their use of a term, but rather so anyone working in the field will be sure of what a term is describing.
so in that interest I would ask people who do post sound to either support a terms usage, or explain the usage they attach to the term.
charles maynes |
Hi Charles.
Thanks for putting all this effort into writing. I will dispute you, however, about the seeming rejection of "stem" as a component of music underscore or song delivery in post sound. "Pre-mix" is not common parlance with the composers and scoring crews I work with, although I agree completely that the "stems" I deliver to the stage from the mix room are the rough equivalent of dialogue or FX pre-dubs, the difference being they are inter-dependent and meant to represent an overall balance that can be altered with little fuss. Though "pre-mix" may be used by some, we don't call them that, so I'm here to legitimise the usage of "stem" in real-world movie music.
Music departments continue to befuddle the other 75% of film sound with the usage of "cue sheet", which unlike the dubbing log used to alert the mixer to events happening in the timeline from the various units, it's the performing rights society's document that tells them how those with composing credits get paid. On behalf of my fellow colleagues, I want to apologise for this without reserve.
regards,
Dan