Printing stems "in the box"

[Reckless Erik]

My workflow is such that i like to print DX,MX and SFX stems to 5.1 tracks and then bounce those stems together for the master 5.1 print. I ask the community is it not a good idea to turn off all delay compensation on the stem print tracks to ensure correct timing and sync?

[BScout]

You should put the record tracks in blue mode to keep them aligned to the stems.

When tracks are in record, by default they already disable delay compensation. Blue mode keeps delay comp on to compensate for bussing delays.
Feeding stems to group record tracks with delay comp off or not in blue mode (which ends up being the same thing) means misalignment -- though it should be very small depending on your system if you are just bussing (with no plugins) from 3 stems to 1 master.
It also depends if this is HDX or not.

But then again, you used "bounce" and I don't know anyone in Post-Pro who bounces tracks. Everyone prints down into the session or a print recorder (or punches in.) You may be using "bounce" interchangeably but in Pro Tools' speak, that's a particular process.

[reichman]

I've always mult'ed the outputs of my master auxes to get to the re-record tracks. I've never quite understood why one would take the output of a re-record track, and then mix that with another, when you can do the signal flow in parallel instead of daisy-chain. I know there's no right way to do it, but for those who are daisy-chaining like Erik, what benefits do you get?

[Tim R.]

Originally Posted by BScout

I don't know anyone in Post-Pro who bounces tracks. Everyone prints down into the session or a print recorder (or punches in.)

Really? Does no one bounce in Post-Pro? Is it just the comfort of listening as you lay off?

[BScout]

Yes. Comfort of listening back to what will actually be sent and when doing notes/fixes with punch-in, listening for any issues at the punch points. It’s the standard way of post pro here in Los Angeles feature and television re-recording mix rooms.

(Not to mention, most/many have a stem recorder system so bouncing wouldn’t work anyway)

[reichman]

+1 and NYC!

Ironically, offline bounce would take a lot longer than the real-time destructive punch method. Much faster to punch-in.

[Norad155]

What reichman said...
mult to your mix and stem tracks instead of printing through your stem tracks.

I do both Offline Bounce and Realtime print.

OLB if it's for a quick approval or temp.

Realtime if it's for delivery (and punches for fixes)... I've found enough mistakes or things I want to tweak in my final playback that it's 100% worth the extra time. It forces you to sit and watch it.

Offline bounce bit me ONCE... a reverb didn't change IRs correctly... that was enough for me never to trust it again for delivery (I don't remember which reverb and I could never re-create it... but still)

you CAN successfully destructive punch into a file that has been offline bounced.... if you want to go that route.

[nst7]

Hey I'm just curious for those who bounce to a dedicated stem recorder, what is the advantage of that, vs. routing to record tracks on your main system?

[TVPostSound]

I have for the last 15 years, printed my stems to a track, and routed stems to print master record track. All record tracks in BLUE mode.
NEVER have punch issues or timing issues. In realtime.

Ill record stems and PM during producer review, punch in for their notes.

Reichman: No benefit, just how I learned after stem bouncing with 24tk tape. Old habit that just works!!

[henningaround]

I feel like every time I used offline bounce the resulting clips had mistakes in it. Sometimes just bugs in plug-in automation (mostly the IR stuff) with really weird results. But very often simple mixing mistake I myself did (write automation to selection...). I always re-record realtime while producers and director are listening and punch in changes afterwards while they are still there. So print master is finished as soon as they leave. I use offline bounce only to deliver to other departments etc. Or sometimes quiet handy to get a complete loudness analysis over night of your mix after 1st or 2nd pass!