How to Prepare Stems for Mixing

Approx. 4‑minute read (850 words)

When a producer sends you a project, the first thing you do is check the stems. Well‑prepared stems save time, reduce frustration, and lead to a cleaner mix. This guide walks you through the steps you should follow in Brisbane or anywhere else, using the practices we use at Jovytensor.

1. Identify the Essential Tracks

Start by locating the core elements that will shape the mix: drums, bass, vocals, guitars, keyboards, and any key melodic or rhythmic parts. In our studio we routinely keep a separate “mix” folder that contains one mono or stereo track per instrument. For a typical pop single, you’ll have at least 8–12 stems.

2. Organise Your File Structure

Use a clear, consistent folder hierarchy. A common layout looks like this:

Project‑Name/
  ├─ mix/
      ├─ drums/
      ├─ bass/
      ├─ vocal/
      ├─ guitars/
      ├─ keys/
      ├─ FX/
      └─ master‑reference.wav

Each sub‑folder should contain only the relevant tracks. This mirrors our 24 m² control‑room setup where each instrument can be isolated quickly. It also aligns with our Monthly Capacity of 15 tracks – a tidy structure keeps the workflow efficient.

3. Check File Formats and Sample Rates

The most common formats are WAV and AIFF, both uncompressed and 24‑bit. 44.1 kHz is standard for CD, but we recommend 48 kHz for video releases. For studio‑grade mixing, use 96 kHz if your source files allow it. Ensure all tracks are bit‑locked and that the sample rate is consistent across all stems. Mismatched rates can cause latency and alignment issues.

4. Include Reference Tracks

Ask for at least one reference mix – a track that sounds similar to the desired final product. We store references in a refs/ folder. This gives us a sonic target for loudness, balance, and EQ. In Brisbane, many local artists prefer a clean, punchy sound that translates well on streaming platforms like Spotify and Apple Music.

5. Mark Target Levels and Headroom

Before hand‑shaking, tag each track with a target peak level. We use the –6 dBFS rule for most instruments, leaving headroom for processing. If you’re working with a high‑energy track, consider raising the target to –5 dBFS. Note that min_headroom_db in our rules is –6 dB, so stay within that boundary to avoid clipping during the mix.

6. Use Consistent Naming Conventions

Adopt a naming scheme that conveys instrument, channel, and version. Examples:

• drums_kick.wav
• drums_snare.wav
• bass_lead.wav
• vocal_main.wav
• guitar_riff.wav
• keys_pad.wav

Include the track number if you have multiple passes, e.g., drums_kick_01.wav. This practice keeps the project tidy and matches the way we label tracks in our Monitoring system (ATC SCM25A & Focal Shape).

7. Prepare a Mixing Brief

Provide a short brief that lists the desired mood, genre, and any specific requests. Mention the target loudness (e.g., –14 LUFS for streaming) and the intended release platforms. If you need a particular instrument to sit lower in the mix, note that. A brief helps us hit your expectations faster and aligns with our response_hours of 24 h for initial consultation.

8. Finalise Your Project Folder

Before sending, double‑check that all files are fully rendered, no missing channels, and that the folder contains:

• All stems in the mix/ folder
• Reference tracks in refs/
• A README.txt with a brief summary and any special instructions
• Backup copies on a separate USB drive (our storage_months policy is 6 months)

Compress the entire Project‑Name folder into a single ZIP file. Name the ZIP after the track, e.g., MySong.zip. This makes the upload process straightforward for our contact page or the FormSubmit integration.

9. Local Queensland Considerations

Brisbane’s climate can affect equipment reliability. Always keep a spare set of cables and backup power sources when working on site. Our studio’s 24 m² control room has a dedicated HVAC system that keeps the temperature stable at 20–22 °C, ensuring consistent performance from microphones and digital gear.

Checklist

• All stems are WAV or AIFF, 24‑bit, 48 kHz or 96 kHz
• Folder hierarchy matches the standard layout
• Reference track provided
• Target levels set to –6 dBFS (or –5 dBFS for high energy parts)
• Consistent naming conventions applied
• Mixing brief attached
• ZIP file named after the track
• Backup copies stored

Follow these steps, and you’ll give our engineers a solid foundation for a professional track mix. If you’re ready to send your stems or want to discuss the process in more detail, get in touch or book a session through our Professional Track Mixing service. For a deeper dive into cost structures, refer to our Understanding Mixing and Mastering Costs guide.