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ESTS visual artwork showing eight stem families, routing lines and an analog tape-machine studio environment

Dakei Entertainment · Production Workflow

The Eight-Stem Tape System (ESTS)

An original production workflow designed and developed by Filimone Dakei.

Eight musical stem families leave Cubase, pass through TAPE16 in real time, and return as individually processed stems ready for printing, balancing and final mastering.

The Eight-Stem Tape System (ESTS) combines the precision of Cubase Pro 15 with the tonal character of TAPE16. Rather than applying one tape processor across the finished stereo mix, the production is divided into eight musical stem families, allowing drums, bass, vocals, instruments and effects to respond independently to tape-style processing.

Explore the Signal Flow Enquire About Mixing

Stem Sends 1–16 → Tape Processing → Processed Returns 17–32

Monitor pair from aggregate channel 33 onward → Physical interface → Cubase Control Room

Overview

A Custom Stem-Based Tape Workflow

The system does not send the completed stereo master through one processor. Instead, Cubase organises the mix into eight major musical families before anything reaches TAPE16.

Each stem reaches TAPE16 independently. This allows the saturation, transient response, density and tonal movement of one section to be shaped without forcing every part of the record to react in the same way.

Teach the system. Protect the recipe.

This page shows the routing architecture — the channels, buses and signal paths that make the workflow repeatable. The exact saturation levels, gain staging and track-specific processing remain part of the private processing method developed by Filimone Dakei and are not published here.

Eight Stems

The Eight Musical Stem Families

Every stem has its own dedicated send pair, TAPE16 input and Cubase return — a consistent, repeatable map across productions using the ESTS workflow.

Drums / Percussion

The rhythmic backbone of the record, printed with its own transient and density response.

  • Cubase send: 1/2
  • TAPE16 input: 1/2
  • Cubase return: 17/18

Bass

Low-end weight and movement, processed separately from the rest of the low-mid content.

  • Cubase send: 3/4
  • TAPE16 input: 3/4
  • Cubase return: 19/20

Vocals

Lead and supporting vocal performances, given dedicated tonal treatment.

  • Cubase send: 5/6
  • TAPE16 input: 5/6
  • Cubase return: 21/22

Keys

Piano, synths and keyboard parts, printed independently from guitars and pads.

  • Cubase send: 7/8
  • TAPE16 input: 7/8
  • Cubase return: 23/24

Guitars

Electric and acoustic guitar parts, given their own harmonic response.

  • Cubase send: 9/10
  • TAPE16 input: 9/10
  • Cubase return: 25/26

Strings / Pads

Sustained textures and atmosphere, treated separately from transient-heavy elements.

  • Cubase send: 11/12
  • TAPE16 input: 11/12
  • Cubase return: 27/28

Vocal FX

Doubles, harmonies and vocal effect returns, printed apart from the lead vocal stem.

  • Cubase send: 13/14
  • TAPE16 input: 13/14
  • Cubase return: 29/30

Instrument FX

Ambience, delays and instrumental effect returns, printed as their own family.

  • Cubase send: 15/16
  • TAPE16 input: 15/16
  • Cubase return: 31/32

Signal Flow

The Complete Signal Path

Expand each stage for the exact routing, naming and channel allocation used throughout the workflow.

Stage 1 Cubase Source Tracks

Instrument tracks, audio tracks, samples, vocal tracks, FX returns and internal group channels feed the final eight Cubase stem groups.

  • ALL DRUMS/PERCS
  • ALL BASS
  • ALL VOCALS
  • ALL KEYS
  • ALL GUITARS
  • ALL STRINGS/PADS
  • ALL VOCAL FX
  • ALL INST FX
Stage 2 Cubase Output Buses

Each stem group feeds a dedicated output bus, named for clarity throughout the session.

  • TAPE DRUMS/PERCS1/2
  • TAPE BASS3/4
  • TAPE VOCALS5/6
  • TAPE KEYS7/8
  • TAPE GUITARS9/10
  • TAPE STRINGS/PADS11/12
  • TAPE VOCAL FX13/14
  • TAPE INST FX15/16
Stage 3 Loopback

The outgoing virtual device is named CUBASE TO T16, configured as 16 channels across eight stereo pairs, using a Pass-Thru source with no application sources and no hardware monitor attached.

Loopback transports the outgoing Cubase signals into the shared Aggregate Device, where TAPE16 can receive them.

Stage 4 TAPE16

Eight stereo TAPE16 input pairs receive the outgoing stems:

  • Drums / Percussion1/2
  • Bass3/4
  • Vocals5/6
  • Keys7/8
  • Guitars9/10
  • Strings / Pads11/12
  • Vocal FX13/14
  • Instrument FX15/16

Passing signals may receive tape-style saturation, tape-speed character, wow, flutter, tape-age character, tape-damage character, track-level gain staging, pan and stereo linking, compatible MFX processing, and output-level control. Exact ESTS processing settings are not published.

Stage 5 TAPE16 Return Path

The return virtual device is named T16 TO CUBASE.

  • T16 17/18Return TAPE DRUMS/PERCS
  • T16 19/20Return TAPE BASS
  • T16 21/22Return TAPE VOCALS
  • T16 23/24Return TAPE KEYS
  • T16 25/26Return TAPE GUITARS
  • T16 27/28Return TAPE STRINGS/PADS
  • T16 29/30Return TAPE VOCAL FX
  • T16 31/32Return TAPE INST FX
Stage 6 Cubase Return Tracks

Eight purple return tracks receive the processed stems. Their audio output routes directly to MAIN OUT.

A VCA named T16 RETURNS VCA controls the eight return-track levels together.

Carries audio?
No — the VCA carries no audio, only collective return-level control.
Normal position
0.00 dB
Solo / Mute
Both remain off during ordinary operation. Return tracks remain independently routable.
Stage 7 Monitoring

The Aggregate Device combines CUBASE TO T16, T16 TO CUBASE and the customer's physical audio interface, with the following channel allocation:

  • 1–16Cubase sends to TAPE16
  • 17–32TAPE16 returns to Cubase
  • 33 onwardCustomer physical-interface outputs (for example, 33–34 for interface outputs 1–2)

Cubase Control Room uses TAPE MONITOR and the aggregate-output pair that corresponds to the customer's chosen physical-interface outputs. For example, interface outputs 1–2 appear as aggregate outputs 33–34. The Cubase MAIN OUT remains physically unconnected because Control Room owns the physical monitor output.

Ordinary system audio may remain on a separate output device. It does not interfere with the Cubase–TAPE16 routing as long as that device stays outside the two Loopback pass-through devices and the ESTS Aggregate Device.

Mixing Workflow

Live Processing, Printing and Playback

The same eight return tracks support three distinct operating states, controlled entirely through Monitor and Record Enable.

Live Mix

Monitor: ON Record Enable: OFF

The return tracks monitor the live TAPE16 output in real time, so every tonal decision made in TAPE16 is heard immediately while mixing.

Cubase → TAPE16 → Live return tracks → Main Out → Control Room
Monitor ON hears the live TAPE16 return. Monitor OFF hears the audio already recorded on the return track.

Rationale

Why Not Process Only the Stereo Master?

Splitting the mix into eight families before it reaches TAPE16 can offer a different kind of control than a single stereo pass.

Can contribute to independent harmonic density for different instrument families.

May create more control over drum transients.

Allows a more deliberate approach to bass weight.

Provides the option to integrate vocals without forcing identical processing onto instruments.

Helps shape greater separation than a single heavy stereo tape treatment.

Gives the ability to commit and retain individually processed stems.

Allows greater repeatability across different productions.

Can help build a recognisable production character across a catalogue.

The system does not replace mixing judgement. Its value comes from how each stem is driven, balanced and committed.

Session Architecture

Inside the Cubase Template

A simplified view of how source material moves through groups, final stems, TAPE16 returns and reference monitoring.

Source & musical tracks Detailed group channels Final ALL stem groups Effects returns TAPE16 return tracks
Current product-master verification: the saved TAPE16 session maps inputs 1–16 one-to-one across eight stereo pairs. Saturation, wow, flutter, age, damage, echo and phaser values are saved at zero. The current product master will receive one final release-state check before customer delivery.

The T16 RETURNS VCA controls the total return level. Reference tracks use Cubase Control Room and Listen functionality, bypassing the TAPE16 print path entirely.

Annotated template image: the current technical infographic still carries the retired product name, so it is deliberately excluded from this page. The live HTML routing structure above remains the authoritative reference until an approved ESTS-only graphic is available.

Reference Diagram

The Full Routing Map

ESTS signal-flow overview showing Cubase Pro 15, Loopback, TAPE16, Cubase returns and monitoring
Channels 1–16 carry stem sends and channels 17–32 carry processed returns. The diagram shows the first physical monitor pair at 33–34; customers with more interface outputs select the appropriate pair from channel 33 onward.

Listen

Audio Comparison

The before-and-after demonstration will be added after the final ESTS product-master and level-matching check. No unverified audio sample is presented on this page.

Release provision: the comparison will use the same passage before and after TAPE16, level-matched and documented so customers can evaluate the workflow fairly.

Identity

The ESTS Production Character

The Eight-Stem Tape System (ESTS) is more than a technical routing exercise. It is a repeatable production philosophy built around musical grouping, intentional saturation and commitment. The architecture remains consistent, while the exact treatment changes according to the song, artist and emotional direction of the record.

Live musical energy. Digital precision. Tape-style character. Deliberate commitment.

Reference Technical Specification
Host DAWCubase Pro 15
Virtual routingRogue Amoeba Loopback
Tape-style processingTAPE16
Aggregate DeviceTwo Loopback devices + physical interface
Sample rate48 kHz
Typical mix buffer512 samples
TAPE16 record bit depth32-bit float
Stem sendsChannels 1–16
Processed returnsChannels 17–32
Control Room monitorCustomer-selected pair from channel 33 onward
Physical monitor interfaceCustomer's audio interface

The exact configuration may evolve as software versions and studio hardware change.

FAQ

Frequently Asked Questions

Is this real analogue tape?

No. TAPE16 is used as a digital tape-style processing environment. The system is designed to capture tape-inspired saturation and movement while retaining a modern digital workflow.

Is TAPE16 playing the song internally?

No. Cubase remains the main playback, recording, editing and automation environment. TAPE16 receives the live stems, processes them and returns them to Cubase.

Is TAPE16 performing the final stereo sum?

In the current configuration, the eight processed stems return separately to Cubase. Cubase performs the final balance and stereo summing.

Why are there two Loopback directions?

Separate send and return paths prevent Cubase from recording its own outgoing dry signal and make the processed return architecture easier to control.

Can the stems be edited after printing?

Yes. Once printed, the eight processed stems exist as ordinary audio events inside Cubase and can be edited, balanced, automated or archived.

Does this automatically make a mix better?

No. It provides a distinctive processing architecture. The result still depends on arrangement, gain staging, tonal decisions, monitoring and mixing judgement.

Bring Character to the Mix

The Eight-Stem Tape System (ESTS) is available as part of selected mixing and production projects through Dakei Entertainment.

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