1010music Bento does not document a one-button command that exports every track as separate, aligned WAV stems. The supported workflow is to route Bento tracks to its three output buses, record those three stereo feeds over USB in a DAW, and then edit, mix, or master the recordings there. You can also capture the analog outputs through an audio interface. A forum workaround records one muted/unmuted track at a time, but that is a manual technique, not a guaranteed export feature.
This guide explains the current firmware requirements, exact routing and recording procedure, how onboard effects affect each bus, how to keep passes aligned, and when USB, analog capture, or manual passes make the most sense.
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What “export stems” means on Bento
In a conventional DAW, exporting stems usually means rendering selected tracks or buses to individual audio files that all start at the same bar and end at the same point. Bento’s documented functions are different. Its manual describes assigning audio tracks to output 1, output 2, or output 3, while the 1.5 firmware adds multichannel USB audio. The computer receives three stereo signals that mirror those analog outputs.
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Bento can record samples as WAV files to microSD. That feature concerns recorded sample material, not an arrangement export with every sequenced part rendered and time-aligned. Keep that distinction in mind when a search result or forum post uses phrases such as “export a song as multiple audio tracks” or “export stems.”
Check firmware and hardware before starting
USB audio was added in Bento firmware 1.5. The 1010music release notes version 1.5.30, dated July 17, 2026, describe one stereo channel received by Bento and three stereo channels sent to the computer. The Downloads page lists firmware 1.5.32 for July 2026. The available user manual is version 1.3.17b, dated December 19, 2025, so its menu descriptions predate the USB-audio addition. Verify the current Downloads page and release notes on the day you work; later firmware may change labels or behavior.
| Item | What the documentation establishes | Why it matters |
|---|---|---|
| Firmware | USB audio is a 1.5 feature; version 1.5.32 was listed for July 2026. | Older firmware will not provide the documented three-stereo USB workflow. |
| USB audio to computer | Three stereo signals are sent, mirroring analog outputs 1, 2, and 3. | You can record three stereo buses at once in a DAW. |
| USB audio from computer | Release notes describe one stereo signal received by Bento. | The connection is not an unlimited multichannel return path. |
| Analog outputs | Bento has three stereo outputs on 3.5 mm TRS connections. | An audio interface can capture the same buses without using USB audio. |
| Power and data | The supplied splitter separates USB power/data connections; Bento can draw power from the computer. | Use the splitter when you need separate power or encounter USB noise. |
Prepare the connection
- Update Bento to firmware that includes USB audio, then reboot it before testing.
- Connect the splitter’s data side to the computer with a USB data cable. The device may draw power from that connection.
- If computer power introduces noise or is insufficient, connect the splitter’s power side to the supplied power source as directed by 1010music.
- Close other audio applications that might claim the Bento device, then launch your DAW and inspect its audio-device list.
- Save the Bento project before changing routing. Also create a new DAW session for the capture so the original arrangement remains untouched.
Supported method: record three stereo buses over USB
This is the clearest documented way to move a Bento arrangement into a DAW. It preserves the arrangement’s playback timing in one pass and gives you three synchronized stereo recordings. It does not create one file per Bento track, so plan your output groups before pressing record.
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1. Select Bento as the DAW input
- Connect Bento’s USB data connection and power it as required.
- Open the DAW’s audio-device or input/output settings.
- Choose the Bento microphone input (the name may vary slightly by operating system) as the recording source.
- Confirm that the input list exposes three stereo pairs corresponding to Bento outputs 1, 2, and 3. If the DAW shows only one stereo pair, do not record yet; troubleshoot the USB connection and device mode first.
Use three stereo audio tracks in the DAW, one for each pair. Name them “Bento Out 1,” “Bento Out 2,” and “Bento Out 3,” or use names that identify the groups you intend to record. Naming is a session-management recommendation, not a Bento requirement.
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2. Route each Bento track to an output
- Open an audio track’s configuration on Bento.
- Set its destination to output 1, output 2, or output 3, using the choices documented for that track type.
- Repeat for every track in the arrangement.
- Play the busiest section and watch the DAW’s three input meters. A bus with no meter activity usually means its tracks are muted, routed elsewhere, or not assigned to the expected output.
Think of the outputs as submix buses. For example, you might put drums and bass on output 2, harmonic parts on output 3, and leave output 1 for a performance mix with effects. The best grouping depends on how much separation you need later; a bus containing several parts cannot be un-mixed in the DAW.
3. Understand the processing on each output
The outputs are not necessarily identical copies. The manual and 1.5 release notes identify onboard processing on output 1, including Mod FX, reverb, delay, compressor, and DJ FX. Outputs 2 and 3 are described as dry in the routing documentation.
| Bento output | USB feed | Documented processing | Useful role |
|---|---|---|---|
| Output 1 | USB stereo pair mirroring analog output 1 | May include Mod FX, reverb, delay, compressor, and DJ FX | Print a performance or effects bus when you want Bento’s processing captured. |
| Output 2 | USB stereo pair mirroring analog output 2 | Described as dry | Keep a clean group for later DAW processing. |
| Output 3 | USB stereo pair mirroring analog output 3 | Described as dry | Keep another clean group or isolate a priority part. |
Before recording, decide whether you want effects printed. If a track needs to remain flexible, route it to a dry output and recreate or replace the effect in the DAW. If the sound depends on Bento’s modulation or delay, route it through output 1 and record that processed result deliberately.
4. Create and arm the DAW tracks
- Create three stereo audio tracks and assign each to the corresponding Bento input pair.
- Set the same project tempo and time signature you used for the Bento performance when your DAW project needs grid editing. The audio will still play at its recorded speed; tempo information mainly controls the DAW grid and later synchronization.
- Set the DAW’s transport start point before the first audible Bento event. Starting all three tracks at the same point makes their recordings line up.
- Arm all three tracks and enable input monitoring only if you need to hear the incoming signal. Avoid routing the monitored signal back to Bento in a way that creates feedback.
- Record from a little before the first event through the end of the arrangement. Leave the same lead-in and tail on all three tracks.
Use the DAW’s recorded waveform to verify that all three files begin together. If one bus has silence at the beginning because its first event occurs later, that is expected; do not trim its leading silence independently until you have created a clearly marked common start.
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5. Save both sides of the session
Save the DAW session immediately after recording, then save the Bento project with its routing intact. Keep the original Bento project, the captured session, and any later edits in separate folders. A practical folder layout is Bento_Project_Original, DAW_Capture, and DAW_Mix. Store a note containing firmware version, project tempo, transport start point, output assignments, and whether output 1 effects were printed.
Finishing the captured buses in a DAW
Once the three stereo recordings are in the DAW, treat them as synchronized source groups rather than as finished stems. The following sequence keeps edits reversible.
Consolidate and label
- Move each recording to the agreed session start if the DAW placed it elsewhere.
- Consolidate or bounce each bus from the common start through the same end point, preserving the original silence. Identical lengths make later delivery and re-import easier.
- Rename files with the Bento output and content, such as
01_Bento_Out1_Effected.wavor02_Bento_Out2_Dry.wav. Do not call a bus “vocals,” “drums,” or another part unless that is actually what you routed there.
Clean edits without breaking alignment
- Cut clicks at the edges with short fades rather than deleting time from only one bus.
- When removing a section, use a linked or grouped edit across all three buses so their timing remains identical.
- If you need a loop, copy the same range from every bus and check that transients line up at the loop points.
- Do not stretch one bus independently unless you intentionally want it to drift from the others.
Apply DAW processing
Use the dry output-2 and output-3 recordings for equalization, compression, reverb, delay, saturation, and automation that you want to control later. Treat output 1 as already processed where Bento effects were enabled. Additional processing is possible, but stacking a second compressor or delay can produce a very different result from the original performance.
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Export deliverables from the DAW
- Choose the exact common start and end points for delivery.
- Export each finished bus or reconstructed part with the same range and file format.
- Keep the DAW project and the unprocessed captures so you can revise the mix without returning to Bento.
- Listen to every exported file from the beginning, including its leading silence, and confirm that the number of files matches the routing plan.
Analog-output capture through an audio interface
If USB audio is unavailable, unstable, or incompatible with your computer, record Bento’s three stereo analog outputs through a multichannel audio interface. The routing concept is the same: assign tracks to outputs 1, 2, and 3, connect each stereo pair to an interface input, and record the inputs simultaneously.
Bento’s 3.5 mm TRS outputs operate at Eurorack levels above typical consumer line level. Your interface may need an input pad, lower gain, or an appropriate level-reduction stage. Start with the interface gain low, play the loudest section, and raise the level only until peaks are healthy without clipping. The exact cable and interface arrangement depends on the equipment you own; do not assume a 3.5 mm connection can be plugged into any input without checking its level range and wiring.
- Connect Bento output 1 to a stereo-capable interface input pair, then repeat for outputs 2 and 3.
- Set the interface inputs for the correct line or instrument mode and engage attenuation if required by its specifications.
- Create three stereo DAW tracks, one per interface pair.
- Route Bento tracks and record with the same common start, duration, and effect decisions used for USB capture.
- Compare the recorded noise floor and headroom with a USB test before committing to a long capture.
Analog capture adds digital-to-analog and analog-to-digital conversions and uses more cabling, but it can be useful when the computer does not recognize Bento’s USB audio device or when you want the character of an external input stage.
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A manufacturer-hosted forum discussion describes a user workaround: mute all tracks except one, render or record a pass, then repeat for every track. Other participants discuss routing groups to outputs. These posts show that users consider such methods; they do not establish a guaranteed Bento command for automatic stem rendering.
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If you use this approach, the DAW becomes a recorder for multiple identical passes. The method is slower, but it can produce more separation than three buses when the arrangement is short and stable.
- Save an untouched copy of the Bento project.
- Set every track to the intended output and establish the exact transport start and end points.
- Mute every track except the one being captured, or use a single-track output group if that is safer for your arrangement.
- Record the pass from the same pre-roll point through the same final tail.
- Stop without changing tempo, pattern length, effects, output assignment, or transport position.
- Unmute the next track and repeat until all required tracks are recorded.
- In the DAW, place every pass at the identical start point and check transient alignment before editing.
Keep Bento’s master arrangement unchanged between passes. Any accidental pattern edit, effect-state change, mute automation, or different start point can make the files disagree. Record a spoken or written pass number in the session notes, and retain the original project so a questionable pass can be recreated.
Which capture path should you choose?
| Path | Simultaneous capture | Timing consistency | Effects | Extra hardware | Manual effort |
|---|---|---|---|---|---|
| USB multichannel | Three stereo output groups | Strong: one playback pass records all groups | Output 1 can include Bento effects; outputs 2 and 3 are documented as dry | Computer and USB data connection; splitter may be used for separate power | Output planning and one recording pass |
| Analog interface | Three stereo output groups if the interface has enough inputs | Strong when all inputs are recorded together | Same output-dependent processing as the analog buses | Multichannel audio interface, suitable cables, and level management | More cabling and gain setup |
| Manual passes | One selected track or group per pass | Depends on preserving identical start, end, and arrangement state | Depends on the selected output and whether effects are active | USB or analog recording path | Highest; repeat the recording for every track |
Choose USB when you want the simplest supported workflow and three useful groups are enough. Choose analog capture when your computer cannot use Bento USB audio or your interface setup is preferable. Choose manual passes only when individual-track separation outweighs the time and alignment risk.
Troubleshooting common failures
The DAW shows no Bento inputs
- Confirm Bento is running firmware 1.5 or later and restart it after updating.
- Check that the cable is connected to the splitter’s data side, not only its power side.
- Disconnect and reconnect Bento before reopening the DAW, then select the Bento microphone input again.
- Close other software that may have exclusive control of the audio device.
- If the device still does not appear, use analog outputs and an audio interface as a fallback.
Only one stereo pair appears
The documented USB mode sends three stereo pairs. Recheck the operating-system input selection, DAW channel configuration, and firmware version. A project track routed to a different Bento output will not appear on the pair you are monitoring, so verify Bento’s track configuration before assuming the USB stream is missing channels.
One bus is clipping
Lower the DAW input gain or interface gain and repeat the loudest passage. For analog capture, remember that Bento’s outputs are above consumer line level; engage suitable attenuation. Do not normalize a clipped recording after the fact, because normalization cannot restore lost peaks.
The recording has effects you did not expect
Inspect output assignments. Output 1 may carry Mod FX, reverb, delay, compressor, and DJ FX, while outputs 2 and 3 are described as dry. Move a track to a dry output before recording if you need to process it entirely in the DAW, or deliberately keep output 1 when the printed effect is part of the sound.
Manual passes do not line up
- Place every file at the same recorded start point rather than aligning only the first loud transient.
- Check that Bento’s transport, tempo, pattern length, and mute state were unchanged between passes.
- Look for a pass that started late or stopped early; re-record it using the untouched project.
- Keep the common leading silence until all passes are verified.
Practical checklist
- Firmware includes USB audio and its version is recorded in the session notes.
- USB data and power connections are secure, with the splitter used when separate power is needed.
- DAW recognizes Bento’s microphone input and exposes three stereo pairs.
- Every Bento track has an intentional output assignment.
- Output 1 processing is either wanted or avoided; outputs 2 and 3 are treated as dry.
- Three stereo DAW tracks are armed with a common start and end.
- Peak levels are below clipping for the entire loudest section.
- Bento project and DAW session are both saved before editing.
- Any manual pass uses unchanged transport and arrangement settings.
- Exported files share the same timeline range and have been auditioned from the start.
Bottom line
Bento’s documented stem workflow is routed multichannel recording, not automatic per-track WAV export. Update to USB-audio firmware, route tracks among outputs 1–3, and record the three stereo USB feeds into your DAW for the most reliable result. Use output 1 knowingly because it can include Bento’s effects; keep outputs 2 and 3 for dry groups. Analog capture is a workable alternative, and one-track-at-a-time recording can provide finer separation, but that forum-described workaround demands strict, identical passes and should not be mistaken for an official export command.
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