Majors such as Epidemiology and Bio Statistics definitely comes under STEM education and are eligible for STEM OPT extension provided that your MPH degree is of at least two years duration (M.P.H. Helps isolate the exact stage of the process in which any particular problem emerges, making the diagnosis and resolution of said problem FAR simpler. Is Masters in Public Health STEM You have to select your major within Master of Public Health (MPH). Prevents backtracking / wasting time by compartmentalizing the processįrees up system resources, resulting in cleaner sounding stems TL DR In summary, stemming and splitting your process up into stages is useful for several reasons: With multi-track releases like EPs, I've started using an "Overlord" Mixing & Mastering template for all of the tracks in the release to make sure they all have a consistent sound. All in all, I usually only end up with a max of 3 project files per track. Then, if I'm ever tempted to change something from an earlier stage, the somewhat annoying process of unfreezing & re-freezing the channel stands in my way to ensure that I only actually do it if it REALLY needs to be done.įinally, in the Mixing stage, I add EQ, panning, and levels automation to sort out any remaining headroom issues before heading into the Mastering phase. I find that this process turns out much crisper, tighter, and more consistent sounding stems than if I was processing all of the VSTs/AUs/Resamples/etc alongside their respective effects chains. Then, when the Arrangement stage is complete, I freeze the existing channels, bounce their stems into new channels inside the same project file, and then begin adding effects to them. During the early stages, I try to focus strictly on the raw sounds, and ignore the urge to polish them with effects and EQ. In doing so, I've given each stage of the process a bit more isolation and sovereignty, and prevented myself from regressing to earlier stages when I should be focusing on finishing up the track.Įven more recently, I've been experimenting with adding an Effects stage between Arrangement and Mixing, and this has made me appreciate the stemming process even more. Now, I've broken up my process into stages (Sound Design > Composition > Arrangement > Mixing > Mastering) and started using different project files to establish a more tangible distinction between them. Until recently, I always found myself going back and re-tweaking stuff that I'd already done quite well, and just wasting time fiddling with stuff that you'd never even be able to hear in the final mix anyway. If you're doing your own mastering, then stemming out is a fantastic way for you to break the production process down into its individual "stages" and force yourself to work on one at a time. It allows for greater control over the end-product. In conclusion, stem mastering is just another option. Stem mastering for this purpose would involve a subgroup your whole song except rhythm, then a subgroup of your rhythm section without kick, then a stem containing only your kick drum. To get max RMS, you typically want to mix your kick drum a lot louder than you normally would, and then limit the hell out of it and bring the rest of the track up to the kick's level with your master chain. You can more easily and accurately compress separate groups of instruments (instead of just relying on multiband compression), and it's easier to say, make your leads wider without changing how the drums sound.Īnother reason to stem master is for maximum RMS. The main reason to stem master is that you get a bit more control over the final master. All of your basses will be on one, your drums on another, your leads on another, etc. There may be 3-8 stems for stem mastering. Stem mastering doesn't involve every stem of a track, but rather subgroups.
In fact, I've ceased to worry about it.Stem mastering is essentially the same as stereo mastering. And so far, with conservative limiting (whatever "conservative" means in this day and age) I have not heard any image shift artifacts on the vast majority of music I master. I'm waiting for that moment of image shift that will catch me, but clearly the practices and amounts of processing I am using are conservative enough to reduce the chances.Īs for peak limiting, if you have percussive music, unlinked can reduce the "clamping" effect a bit. Either way, I prefer unlinked most of the time. It's also possible there's some increased crosstalk in the Cranesong design in linked mode. If so, it's certainly a euphonic and pleasant effect.
This might very well be due to slight image shifting producing an APPARENT increase in separation. All I know is I now run my limiter, and my Cranesong Trakker in unlinked mode, and I hear an apparent increase in stereo separation. If you are mastering conservatively, with very little gain reduction and relatively slow attack and release times and ratios, it becomes very hard to find an instance of noticeable image shift. I think the balance-shifting issue is greatly exagerrated.
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