In audio production, a stem is a discrete or grouped collection of audio sources mixed together, usually by one person, to be dealt with downstream as one unit. A single stem may be delivered in mono, stereo, or in multiple tracks for surround sound.
Mixing for films
In sound mixing for film, the preparation of stems is a common stratagem to facilitate the final mix. Dialog, music and sound effects, called "D-M-E", are brought to the final mix as separate stems. Using stem mixing, the dialog can easily be replaced by a foreign language version, the effects can easily be adapted to different mono, stereo and surround systems, and the music can be changed to fit the desired emotional response. If the music and effects stems are sent to another production facility for foreign dialog replacement, these non-dialog stems are called "M&E". The dialog stem is used by itself when editing various scenes together to construct a trailer of the film; after this some music and effects are mixed in to form a cohesive sequence.
Live sound mixing
Music mixing for recordings and for live sound, stems are subgroups of similar sound sources. When a large project uses more than one person mixing, stems can facilitate the job of the final mix engineer. Such stems may consist of all of the string instruments, a full orchestra, just background vocals, only the percussion instruments, a single drum set, or any other grouping that may ease the task of the final mix. Stems prepared in this fashion may be blended together later in time, as for a recording project or for consumer listening, or they may be mixed simultaneously, as in a live sound performance with multiple elements. For instance, when Barbra Streisand toured in 2006 and 2007, the audio production crew used three people to run three mixing consoles: one to mix strings, one to mix brass, reeds and percussion, and one under main engineer Bruce Jackson's control out in the audience, containing Streisand's microphone inputs and stems from the other two consoles.
Stems may be supplied to a musician in the recording studio so that the musician can adjust a headphones monitor mix by varying the levels of other instruments and vocals relative to the musician's own input. Stems may also be delivered to the consumer so they can listen to a piece of music with a custom blend of the separate elements. (See List of musical works released in a stem format.)
- Hollyn, Norman (2009). The Film Editing Room Handbook: How to Tame the Chaos of the Editing Room (4 ed.). Peachpit Press. pp. 162, 186, 269. ISBN 0321679520.
- Tozer, Edwin Paul J. (2004). Broadcast Engineer's Reference Book. Taylor & Francis. p. 615. ISBN 0240519086.
- LoBrutto, Vincent (1994). Sound-On-Film: Interviews With Creators of Film Sound (2 ed.). Greenwood. p. 183. ISBN 0275944433.
- Woodhall, Woody (2010). Audio Production and Post production. Jones & Bartlett. pp. 461–462. ISBN 1449603203.
- Bennett, Stephen (October 2005). "Stem Mixing in Logic". Sound on Sound.
- "Studio Legend Bruce Jackson Chooses VENUE and Pro Tools for Streisand World Tour". Digidesign press release. CreativeCow.net. 6 February 2007. Retrieved 8 February 2011.