Sting Desert Rose Audio
Florian Peitz
You can find some original stems shared by songs' authors themselves. Many artists and groups purposefully publish their most technically difficult, commercially successful, or just very popular songs in the multitrack format. It's the way to get more respect in the professional industry, among other musicians and sound engineers. For instance, such multitracks could be used by people interesting the art of mixing, other musicians or DJs.
It's a very useful experience to learn multitracks of the greatest hits! Let's say, original studio multitracks of Michael Jackson, Freddy Mercury, Deep Purple or any other. Studio-stems are raw sources, as a rule. Yes, you have physical files, but you don't have appropriate hardware mounted in racks, mixer console as used during record and many other things. To make a good mix is a complex task, it's a creative act. That's why it's very difficult to recover all the palette of the original mix even in you have an original multitrack!
Such tracks, as a rule, are shared by authors or their assistants. The original phonogram has only a few differences from the original multitrack. The difference is that all instruments are bounced in a stereo-track.
You don't have to make an effort to create a great final mix, like in the case with another kinds of backing tracks, but you don't have a technical opportunity to extract something from the mix finalized. We can say that the original backing track is closed for transformation. One bad move can destroy a whole mixdown! Sometimes there could be a few different versions of the original phonogram: with or without backing vocal. To find such a recording is a piece of good luck!
The format is the most common and the most popular. There're many different vendors of karaoke. Professional musicians and engineers are participants of their teams. They make a huge quantity of content for them. If some song becomes popular you'll be able to find karaoke-version of it very soon! But what if it's not very popular?
Karaoke has one big advantage over other formats - it's very simple for end-users and users not having any experience at all are able to use it. Push a magic button and enjoy! But what if we want to edit or customize something in the backing track?
Another interesting format is MIDI-karaoke. You can try to look for MIDI files of popular compositions in open sources. Midi-format does not contain any information about the timbre of sound played. Midi-files consists of events (such as Note On, Note Off, Aftertouch etc). MIDI is an interface and it has been originally designed to store and transfer commands, such as when and how loud key is pressed, MIDI does not contain any complex phicysal characteristics of real-word's sounds. MIDI supposes that you use so called software-hardware complex. Playing MIDI, hardware of sotware synth uses its embedded timbres to produce sounds. You're limited by quality or a number of timbers of your synth. MIDI is strictly depends on the hardware where it was created. If you ever changed your synth, there's no warranty that you'll get a great sound on your new synth with you old midi-sources!
The next two heroes of our story are such backing tracks created by cutting of original songs or produced with the help of existing voice removal tools. In the case of cutting, there're no difficulties it this thing. Open any editor (Audacity, Sound Forge, Abobe Audition), select any fragment of an original song without voice and copy it again and again. But problem is that the song's arrangements are very sophisticated sometimes and you'll not be able to find a good piece to copy-paste a bridge, for instance. That is where the work of voice-removal and voice-reduction instruments.
Folks! Seriously?! Seemingly... it's the 21st century, we have a digital sound, technical progress, AI, LHC, NASA, but an ordinary musician still stay restricted. The reason is not in that scientists do not think about musicians, the reason is that the music has a very complex physical and psychological nature, perception of music is grounded on some psychoacoustic phenomena, and all these things are interwoven into our concept, and poorly formalized. It makes music hardly preparable even with the most advanced existing technologies! We can say that we're only in the beginning.
So, let's make interim conclusions of our discourse. Voice removal tools are simple, but they work as uglyfiers, with a huge loose of quality. Karaoke is commonly accessible but not flexible. MIDI-karaoke format (*.mid and *.kar are the same) is very flexible, but it requires synthetic knowledge of music and audio production tools, time, and equipment.
What should we do? Would you like to record all parts yourself? Do you play all the instruments well? Do you have backing vocals or you sing well? Is your hearing good enough to transcribe all parts exactly? Do you have a lot of time to do all this? But what if you have a busy schedule, and tomorrow you need, let's say twenty new backing tracks? All that can only lead to one conclusion. Let us finally say to you this magic word...
Every instrument is recorded separately (in isolation of others) in the multitrack source and saved in a separate file. You can apply any settings (equalization, compression, or reverberation) to any channel or a group of them. All you have to do is to download the set of files to your favorite program!
The process of multitrack modification is simplified thanks to the fact that they have separate metronome tracks (except for composition in free rhythmic and rubato), instruments are synchronized with each other, all channels are synchronized with clicks, and count-offs are added after all pauses, fermatas, and long stops.
We choose the most suitable performers from the most brilliant singers and musicians all over the world for every record. Having agents in all continents, we always search for talents and expand the base of performers. The most advanced sound equipment of nowadays is installed at our studio.
We control signal purity, mix transparency, the number of restarts to restore, the lack of interferences, noises or hisses, feedback, groundloops, non-linear harmonics, and other unpleasant phenomena that occur while recording, processing, converting, and coding signals. You always get an ideal signal!
There should be a way-out! Our multitracks solve this problem once and for all. Every instrument is recorded separately and saved in a separate file. You can make several custom mixes of one and the same song for performance, depending on the ensemble cast. Mute your part and play live!
You can record phonograms at home by bringing a ready-to-use mix for a performance or manage loudness of every track in a real time right here on the scene. In this case, you need DAW or sequencer installed at your laptop and a multichannel sound card to play it.
We use third-party billing that serves many large companies. It guarantees safety, a high control level, protection, and privacy of all transactions conducted. Personal and payment data are not transferred openly; the encryption is used, round-the-clock fraud monitoring and user support are provided.
It was only a short and very common try to describe all the advantages of multitrack,because there are no restrictions on how you'll be using them and what tools you can use!
Instruments that you use are not as important as the final result that you can get!As a musician, you'll realize all the opportunities of using our libraryas soon as you start to use it in your practice.
It's time to create your first mix!Let it'll be clear, smooth, and tight!We wish you success in your creative work!