There are 2 common ways that people are making Separations:
1) Simply to mute (or disable) the tracks that you don't want in a particular Separation. For instance to make a drum Separation, simply mute all tracks but the drums! To make a vocal Separation, simply mute (or disable) all tracks but the vocals! ...and so forth. So long as your "multitrack" (Logic, Digital Perfomer, Roland, Akai, Pro Tools, etc.) is digital and your 2-track "mixdown" is digital (bounce back into the computer, digital loop-back into the computer, Masterlink, etc.) you can make Separations. Analog machines can be used, but contact us for details.

2) Solo the instruments you want to use in a given Separation. Each time you solo a group or selected instrument, take careful notes and write down what you've soloed and what you haven't - keep track of your tracks!

Another method is to assign your tracks to stereo or mono subgroups - and send those subgroups to the stereo output (digital and analog). Here's some examples:

Key: When you mute all your groups, there should be no sound coming out of your stereo mix. This is a good test to be sure that you have assigned every track and every related effect to a group.

IMPORTANT: Include a click or some peak sound just before the song begins. The same exact click at exactly the same volume should be heard at exactly the same time at the beginning of every recording pass. Each pass will become a separate file that we will line up sample-accurately. Everything has to play in sync. This isn't necessary if you are certain that you are starting each and every pass at EXACTLY the same time. However, the click is an excellent backup plan and we highly recommend it.

The Recording Process

• Record your stereo mix as you normally would and save it into a Separations Folder that is named specifically after each song. The corresponding file could be named something like [your song]full_mix.wav[your song]full_mix.aif (We prefer SD11 files.) You don't need to put the brackets in the actual file name. or

• Make another recording pass, but mute or disable all tracks (or groups) except the drums. Be sure there are no effects from any other tracks being heard on this group, other than drum effects. Remember to include that reference click before the song starts. Be sure that there is no reverb from that click. You've now created your drum Separation. Name the file something like [your song]drums.wav or [your song]drums.aif (SDII is preferred.)

•  Make another recording pass, but mute or disable all tracks (or groups) except the bass and it's pertinent effects. Include the reference click and you've made your bass separation file. Name the file [your song]bass.wav or [your song]bass.aif (SDII, etc.) Leave off the brackets.

•  Make another recording pass, but mute all groups except the rhythm instruments. Check the effects.... include the click. Name the file.

•  Make another pass in a similar fashion for the lead vocal group.... and so forth till you've recorded and named all the Separations.

• Each pass must start from "time zero" even if the sound on it doesn't occur till the middle of the song! Once there is no more sound on that group, you can stop recording it.

• In some cases, effects that are sent "pre-fader" will still be generating that effect, even if the faders are muted, which is why all related effect returns must be sent to the group they go with. You can also "disable" or "freeze" tracks so that no pre-fader effects bleed into the wrong separation.

• Record each pass and "Save As" 24 bit, if your system will allow - even if you were at 16 bit in the recording process. Don't ever record at 44.1 just because "it's going to end up on a 44.1 audio CD." Always record at the highest resolution possible for your needs. The files for your Separations should be stereo interleaved when possible.

• Store each pass into the Master Separations folder. Be sure to CLEARLY and systematically label or name all of the files - these are your Master Separations. It is important that you make separate folders for each song and clearly mark what song and what files are within that folder. • Use the 3-D's.  Document, Describe and Detail. Organize your materials and files! Include a plain text or Word file in the folder with any notes you have about each song - questions you may have - any notes for the mastering engineer. The Separations eliminates the need for time consuming alternate mixes - vocal up, vocal down, etc. because your notes to the engineer can explain any options you would like explored during the mastering session.

Be sure to include the stereo mixdown in that folder! That is the critical reference that ensures that everything meets or exceeds the sound of your final mix. We will line up and A-B compare your Separations2-track stereo mix to be sure that any mastering enhancements retain the integrity of the mix - as would be the case in traditional mastering. In the analog domain we can use the Nautilus Commander which is perfect for these A-B comparisons. The A-B process is KEY in this whole process and it's part of what makes this a holistic system - not just another name for stems.

with your Tip: it's usually good to have a master fader on your DAW mixing "console" to check your levels for digital overs (clipping) but then remove the master fader when you are making your final mix and your Separations. Very helpful: DO NOT try to max out your stereo output level in order to make a "hot" mix - leave a couple dB of headroom. You can always put your finished stereo file back into a digital editor or Masterlink and bump up the level. The sound is what's important, not the final level. (In fact, hotter pre-slammed mixes can box the mastering engineer into a corner, if not done carefully.) The mastering process will achieve your volume level goals.

Important: Do not change ANY levels in those subgroups when you are making your Separations. Change nothing. Only mute (or disable) the various groups required to reveal each one being recorded separately. When we line up your Separations in our source DAW, all the levels you created will be the same in our system so long as this procedure is followed correctly. You might even wish to confirm that your files are correct ahead of time by opening up a new mix session in your DAW system, loading in your Separation files, and listen to be sure you've recorded everything correctly.

If you're using a common SEND going to your outboard effects, that shouldn't affect Separatins. You simply keep the returns going into the mix each time. The send level should keep the same amount of effect whether you're mixing certain tracks to stereo separately or together. If you want to test Separations, simply make a set and recombine them in your DAW along with your stereo mix. If you mute your stereo mix and listen to the separations, you should be able to SOLO the stereo mix (all settings at -0- and hear a comparison between the two formats on your own system. That way you can check to see if all effects elements are coming out the same in both formats.