How should I orgenized mix versions?

Drorsh4 · 14th December 2010

Hello everyone,

I would like to read & learn more about the way people here are organizing their mix versions.
In every project I get into many versions of...everything.
I'm not talking only about the "Cinema\DVD\Internet" versions, but more on tiny differences - "with or without Limiter", "-\+ Dither" or "+2 dB Hi shelf",
"HPF on 70Hz instead of 60Hz".

Sometimes I need them all, to understand what is the most accurate, but then I have 12 versions of "Mix 24_48" or "Mix_ver7_101215".

Any Ideas? Methods?

Thanx...thumbsup

mikevarela · 15th December 2010

Well this is always subjective and often best learned by watching others, but what you're taking about most is using a template.

Templates are built over time, but usually they involve bussing schemes for printing stems and routing for reverbs, Fx and limiters.

You'll most likely need to have a set of tracks for the dialogue, Fx and music all bussed to aux inputs which become the stem masters. these masters then get bussed to a master aux input.

As far as eqing and limiting and other such stuff, well that is completely based on source material and style, so general techniques are best found out by watching or trolling the forums

Drorsh4 · 15th December 2010

Thank you Mike,

My question was more about a "system" of handling, organizing and folding
all kinds of mixdowns. Template system is good in the process itself.
I'm looking for a "system" that I can use (or think) to classified lots of mixdown versions.

kjetillunde · 17th December 2010

Quote:

Originally Posted by Drorsh4

Thank you Mike,

My question was more about a "system" of handling, organizing and folding
all kinds of mixdowns. Template system is good in the process itself.
I'm looking for a "system" that I can use (or think) to classified lots of mixdown versions.

I`m interested as well... It`s important to organize all the mixdowns.

Let`s hear how people do it.

mikevarela · 17th December 2010

if you're talking about finished (final) sessions, then either a large master session with all tracks (final Bounces) lined up, or a parent folder with separate sessions per configuration.

This would be separate sessions for

5.1 Comp
LtRt Comp
5.1ME
LtRt ME
5.1 DME
LtRt DME

These sessions should be free of any fades, markers, groups and plugins, with routing cascaded on mono tracks.

These are refereed to as deliverables.

If in fact you're actually talking about track layout and bussing to create the stems and master in a pro tools session then that info has been posted elsewhere and maybe others can chime in about there specific bussing and printing schemes.

14th December 2010	#1
Drorsh4 Gear Head Joined: Feb 2010 Posts: 63 Thread Starter	How should I orgenized mix versions? Hello everyone, I would like to read & learn more about the way people here are organizing their mix versions. In every project I get into many versions of...everything. I'm not talking only about the "Cinema\DVD\Internet" versions, but more on tiny differences - "with or without Limiter", "-\+ Dither" or "+2 dB Hi shelf", "HPF on 70Hz instead of 60Hz". Sometimes I need them all, to understand what is the most accurate, but then I have 12 versions of "Mix 24_48" or "Mix_ver7_101215". Any Ideas? Methods? Thanx...thumbsup

15th December 2010	#2
mikevarela Gear addict Joined: Apr 2008 Location: Hollywood, CA Posts: 412	Well this is always subjective and often best learned by watching others, but what you're taking about most is using a template. Templates are built over time, but usually they involve bussing schemes for printing stems and routing for reverbs, Fx and limiters. You'll most likely need to have a set of tracks for the dialogue, Fx and music all bussed to aux inputs which become the stem masters. these masters then get bussed to a master aux input. As far as eqing and limiting and other such stuff, well that is completely based on source material and style, so general techniques are best found out by watching or trolling the forums __________________ NuanceTone.com

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17th December 2010	#5
mikevarela Gear addict Joined: Apr 2008 Location: Hollywood, CA Posts: 412	if you're talking about finished (final) sessions, then either a large master session with all tracks (final Bounces) lined up, or a parent folder with separate sessions per configuration. This would be separate sessions for 5.1 Comp LtRt Comp 5.1ME LtRt ME 5.1 DME LtRt DME These sessions should be free of any fades, markers, groups and plugins, with routing cascaded on mono tracks. These are refereed to as deliverables. If in fact you're actually talking about track layout and bussing to create the stems and master in a pro tools session then that info has been posted elsewhere and maybe others can chime in about there specific bussing and printing schemes.