What a stem is, the exact settings to use, and the step-by-step for every major DAW — from a mastering engineer who opens these folders every week.
✦ 10 min read✦ Logic, FL Studio, Ableton, Pro Tools, Reaper, GarageBand✦ Updated 2026
When someone sends me stems instead of a single stereo mix, I can usually tell within seconds how the session went. The good folders all look the same: every file starts at the same point, nothing's clipping, the master bus is clean. The difficult ones tell on themselves too — stems that drift out of sync, a limiter printed across the whole group, one file bounced as an MP3. What I can do with those two folders is very different.
This is the guide I wish every artist had open before they hit export. It isn't about being technical for its own sake. It's about understanding what a stem is, and why each export choice changes what comes back to you.
The short version
A stem is a grouped submix — drums, bass, music, vocals — not every individual track, and not your finished stereo mix. Export each stem from the same start point (bar 1) through the end, as WAV or AIFF, 24-bit, at your project's sample rate, with no limiter on the master bus and Normalize off. Keep each group's own processing on. Two to six stems is normal. Name them plainly, add a rough mix for reference, zip the folder, and send.
A stem is a submix — a group of related tracks bounced down into one file. Drums as one stem, bass as another, all the music, then the vocals. It sits between the two things people mix it up with:
Your individual tracks (the raw multitrack — every single channel on its own). That's what you'd send someone to re-mix your song from scratch, not to master it.
Your stereo mix (the finished 2-track). That's what standard mastering works from, and for most releases it's all you need.
Stem mastering lives in the middle: a handful of grouped submixes that let me move the balance between, say, the vocal and the drums in a way I simply can't with one glued stereo file.
Before you export anything — do you even need stems?
Most releases are mastered from a single stereo mix. It's the industry standard, it costs less, and for a mix you're happy with it's genuinely all that's needed. Stem mastering earns its place when you want more control over the balance, or one element — usually the vocal — needs to move independently. If you're not sure which your track needs, send it over and I'll tell you which one fits. Here's when stem mastering is worth it, and if you've already got a finished mix, how to export a stereo mix for mastering. And if you'd rather I take it from the raw session all the way through — mixing and mastering together — that's a service I offer too.
Export settings that matter
The exact menus differ by DAW, but the settings don't. Get these right and your stems will drop into any engineer's session cleanly.
File format
WAV or AIFF
Lossless only. MP3 throws audio away permanently, and its artifacts show up once I process further. Never send stems as MP3.
Bit depth & sample rate
24-bit
24-bit (or 32-bit float), at your project's original sample rate — 44.1 or 48kHz. Don't upsample, and don't dither. Dither only happens on the final master.
Master bus
Nothing limiting
Take the limiter, maximizer or clipper off the master before you export. Group EQ and compression that are your sound can stay — it's the master-bus loudness processing that has to come off.
Levels
Normalize off
Leave Normalize off in every export dialog. Just keep your mix balance untouched and let the summed mix peak around –6 dBFS with no clipping. The sum is what matters, not each stem.
The one that trips everyone up
Export every stem from the same start point — bar 1 / time zero — right through to the end, plus a few extra bars so reverb and delay tails ring out fully. Identical start and length on every file is exactly what lets them reassemble in sync when I import them. Stems that each start at their own first note are the number-one reason a folder won't line up.
Step-by-step for your DAW
Most modern DAWs can export every stem in a single pass — GarageBand is the exception. Pick yours below for the exact menu path.
Quick answer: File → Export → All Tracks as Audio Files → WAV, 24-bit, Normalize Off, and leave "Bypass Effect Plug-ins" unchecked so each track keeps its own processing. One aligned file per track, in a single pass.
1
Set the project sample rate first in File → Project Settings → Audio — the export dialog can't resample. Clear any Mute or Solo you don't want baked in.
2
Choose File → Export → All Tracks as Audio Files. This writes one file per track in a single pass.
3
Set Save Format: WAV (or AIFF) and Bit Depth: 24-bit.
4
Set Normalize: Off — normalizing each stem separately destroys the balance so they no longer sum back to your mix.
5
Leave Bypass Effect Plug-ins unchecked so each track's insert FX print into its stem, and check Include Audio Tail to catch reverb and delay tails.
6
Pick a folder and save. Every file shares the project start point, so they line up when I import them.
Watch out: per-track export does not include your Stereo Out processing or shared reverb/delay returns (auxes). If a bus compressor or a send reverb is part of the sound, print those to their own tracks first, or they'll be missing from the stems.
Quick answer: Route each group to its own mixer insert, then File → Export → Wave file and tick "Split mixer tracks" → WAV, 24-bit. One file per mixer track. Unmute everything first.
1
Route each instrument or group you want as a stem to its own mixer insert — stems export per mixer track, not per channel-rack channel. Rename any default "Insert" tracks so the files are identifiable.
2
Unmute everything you want exported — muted mixer tracks (and a muted Master) are silently skipped.
3
Take Maximus or Fruity Limiter off the Master, and set the Master volume to unity.
4
Go to File → Export → Wave file, choose an empty folder, and in the dialog tick "Split mixer tracks."
5
Set Format: WAV, Depth: 24-bit, sample rate matching your project, and Tail: "Leave remainder" so tails ring out. Click Start.
Watch out: "Split mixer tracks" is WAV-only, and your Master FX are not baked into the split stems — which is exactly what I want. Just tell me about any master glue or limiting you were relying on.
Quick answer: Select the full range from bar 1, then File → Export Audio/Video → Rendered Track: "All Individual Tracks" → WAV, 24-bit, Normalize Off, "Include Return and Main Effects" Off.
1
Clear all Mute and Solo — Live renders exactly what's audible, so muted tracks come out as silent files.
2
In Arrangement View, drag-select the full song from bar 1 past the last tail. This sets an identical start and length for every stem.
3
Open File → Export Audio/Video (Cmd/Ctrl+R) and set Rendered Track: "All Individual Tracks."
4
Set "Include Return and Main Effects": Off to keep master-bus and return processing off your stems.
5
Set File Type: WAV, Bit Depth: 24, sample rate matching your project, Normalize: Off, Dither: No Dithering, then Export.
Watch out: in Live 12 the master chooser is now labelled "Main" (it was "Master" in Live 11). That single "Include Return and Main Effects" box couples your reverb/delay returns with master-bus FX — if you need the send tails, print them onto tracks first rather than turning it on.
Quick answer: Make one identical timeline selection across every track, then Track → Bounce → WAV, 24-bit, Interleaved. One file per selected track. (The one-pass multi-source Bounce Mix window needs Pro Tools Studio or Ultimate.)
1
Route grouped elements (drums, bass, vocals, FX) to Aux tracks so each group bounces as one stem, and bypass any limiter/compressor on the 2-bus.
2
Make one identical selection across every track — the whole song from bar 1, extended past the last tail — so all stems share a start point and length.
3
Select the tracks and auxes you want as stems, then choose Track → Bounce. Each writes to its own file in one pass, with its inserts and volume/pan but not the master-fader processing.
4
Set File Type: WAV, Format: Interleaved (or Multiple Mono if I ask), Bit Depth: 24-bit, sample rate matching the session.
5
Choose Offline (or Real-Time if you use hardware inserts), pick a folder, and Bounce.
Watch out: Pro Tools has no Normalize control at all, which is ideal — stems print at true level, so just leave headroom. The multi-source Bounce Mix window (add several busses at once) needs Studio or Ultimate; on Artist or Intro, use Track → Bounce.
Quick answer: Select your tracks, then File → Render and set Source: "Selected tracks (stems)", Bounds: "Entire project" → WAV, 24-bit. Use the $track filename wildcard.
1
Select the tracks you want as stems (Ctrl+A selects all). Render only touches selected tracks.
2
Open File → Render (Ctrl+Alt+R).
3
Set Source: "Selected tracks (stems)" — one file per selected track, post-FX, post-fader and post-pan.
4
Set Bounds: "Entire project" so every stem shares a start point and length.
5
Set format WAV (AIFF on Mac), 24-bit, sample rate matching your project, and use the $track wildcard in the file name. Leave normalization off, then Render.
Watch out: don't pick "Selected tracks via master" — that pushes every stem through your master FX and limiter. Enable "2nd pass render" if reverb or delay tails get cut off at the end.
Quick answer: GarageBand can't export stems in one pass — you solo each track and export it on its own. Set a full-song Cycle, turn Auto Normalize off, and flatten the Master track first so its processing doesn't stack on every stem.
1
Name every track clearly first — GarageBand fills the filename from the song name, so you'll rename each export as you go.
2
Flatten the Master track: remove master EQ, the built-in compressor/limiter and any master plug-ins, and set master volume to unity. Soloing a track does not bypass the master chain, so it prints onto every stem otherwise.
3
Turn Auto Normalize off in GarageBand → Settings → Advanced, so per-stem levels stay balanced.
4
Turn Cycle on and drag the cycle region across the whole song, so every stem exports at the same start and length.
5
Solo one track, then Share → Export Song to Disk → WAV, 24-bit, and check "Export cycle area." Rename the file to that track's name.
6
Un-solo, solo the next track, and repeat — once per track.
Watch out: GarageBand exports one file at a time, so a 20-track song is 20 passes — plan for it. If you just need a single stereo WAV out of GarageBand, that's a shorter job: how to export a WAV file in GarageBand.
Wet or dry, and how many stems
Two questions come up on almost every stem session, so here's how I'd answer them from the receiving end.
Keep the effects on (wet)
For stem mastering, send wet stems — keep each group's own EQ, compression, reverb and delay printed in. The only thing that comes off is the limiter or maximizer on the master bus. Dry, effect-free tracks are for someone re-mixing your song from scratch — that's a different job, and if you send them to me for mastering I'm missing the sound you made.
Two to six is the sweet spot
Three is common (drums / music and bass / vocals), four adds a separate bass, five adds an FX stem. Eight is a sensible ceiling. Past that, you're really asking for a mix, not a master — and a stereo master is probably the smarter, cheaper call.
Pre-send checklist
Run through this before you zip the folder. Tick each item — it takes a minute and it's the difference between a session that starts smoothly and one that starts with emails back and forth.
Before you send your stems
0 of 7 confirmed
Every stem starts at bar 1 and is the same length
All files export from the same point through the end, with tails included. This is what lets them line up when I import them.
No limiter or maximizer on the master bus
Group EQ and compression that are part of your sound can stay. It's the master-bus loudness processing that has to come off.
Normalize is off, nothing is clipping
Keep the mix balance untouched and let the summed mix peak around –6 dBFS. Red meters anywhere mean distortion baked in.
WAV or AIFF, 24-bit, project sample rate
No MP3, no upsampling, no dither. All stems at the same bit depth and sample rate.
Effects printed in (wet), not dry tracks
Each group carries its own reverb, delay and processing. Dry raw tracks are for re-mixing, not mastering.
Files named clearly
Drums.wav, Bass.wav, Vocals.wav, FX.wav — not "Audio_03_final2.wav."
A rough stereo mix included for reference
One full mixdown of the song shows me the balance you intended, and lets me confirm your stems sum back to it.
Common mistakes that cost you a session
These come up constantly, and every one of them is fixable before you send — which is the whole point of running through them now.
Stems that don't line up
The most common one by far. If each file starts at its own first note instead of bar 1, the folder won't reassemble in sync — and I can't master a song that's drifting against itself. One identical selection across every track fixes it.
A limiter left across the whole group
A limiter or maximizer on the master means every stem arrives already squashed, and it stacks when they sum. Take it off before you export.
Normalizing each stem
Normalize pushes every file to its own peak, so the relative balance you mixed is gone and the stems no longer sum to your mix. Turn it off in the export dialog.
Cut-off reverb and delay tails
If the export ends at the last note, the ambience gets chopped. Extend the range a few bars past the last sound so tails decay fully.
Dry tracks when you wanted stem mastering
Bypassing your effects sends me raw tracks, not stems. For mastering, keep each group's processing on — the effects are part of the sound I'm finishing.
How to name and send your stems
Name them plainly — Drums.wav, Bass.wav, Vocals.wav, FX.wav — so I know what each one is at a glance. Include a rough stereo bounce of the full mix too: it shows me the balance you intended, and lets me confirm your stems sum back to it before I start.
Then zip the folder and send it through the upload link — there's no size limit, so a full stem pack goes straight across without Dropbox or WeTransfer.
Send your stems
Drop your zipped stems (plus that reference mix) straight here — it handles large stem packs without a size cap. Upload your files →
Frequently asked questions
What's the difference between stem mastering and regular mastering?
Standard (stereo) mastering processes your finished 2-track mix. Stem mastering processes a handful of grouped submixes, which gives me more control to adjust the balance between drums, bass, music and vocals. Stereo is the industry standard and all most releases need — an honest engineer will tell you when the cheaper stereo master is the right call.
How many stems do I need for mastering?
Two to six is standard: three (drums / music and bass / vocals), four (add a separate bass), or five (add an FX stem). Eight is a sensible ceiling. Beyond that it becomes a mix, not a master.
Should my stems be dry or have effects (wet)?
For stem mastering, keep each group's own EQ, compression, reverb and delay printed in (wet) — only the master-bus limiter comes off. Dry, effect-free tracks are for someone re-mixing you, not for mastering.
Do all stems need to start at the same point and be the same length?
Yes. Export every stem from bar 1 through the end, plus a few extra bars so reverb and delay tails fully decay. Identical start and length is what lets the files reassemble in sync in any DAW.
What level should my stems be — how much headroom?
Don't normalize and don't put a limiter on the master. Just leave your mix balance untouched and make sure the summed mix peaks around –6 dBFS with no clipping. Individual stems don't each need to hit a specific number — the sum is what matters.
What file format and sample rate should mastering stems be?
WAV or AIFF, 24-bit (or 32-bit float), at your project's original sample rate — 44.1 or 48kHz. Never send MP3, and don't up- or down-sample.
Do I need to take the limiter off my master bus before exporting?
Yes. Remove any limiter, maximizer or clipper on the master so I have clean headroom to work with. Group EQ and compression that are part of your sound can stay.
Can I make stems from a finished MP3 or an AI song (like Suno)?
You can split them with AI tools, but you'll get audible artifacts. For a real release, always export stems from the original project session — not from a bounced MP3.
Should I also send a reference mix?
Yes — include a full stereo bounce of your mix. It shows me the balance you intended and lets me confirm your stems sum back to that mix before I start.
Not sure this is the right route for you?
Exporting stems is only worth the effort if stems are what your track needs. Here's where to go from here.
Want it mixed and mastered?
Rather hand off the whole thing? I mix and master together — one place, one consistent sound, start to finish.
Tell me how you exported them and what's in the session. If anything about the export would get in the way of the master, I'll tell you before you spend anything.
