Export Module

Print parameters

Every print carries the full description of its deliverable: its tracks, an Audio Format, a Mode, a Range, and optionally its own mix source and audio formats. Project-wide values live on the Print settings page, and a print shows (Inherit) for mix source and audio formats until it overrides them: see Inherit vs override.

Mode: Solo or Mute

Mode decides how the print's tracks are isolated while bouncing. Solo solos them; Mute silences every other track instead. In the print list the mode shows as an S or M badge, and clicking it switches.

Audio Format

Audio Format sets the shape of the delivery: 1 file (Interleaved), 1 file (Mono), Individual files (Interleaved), or Individual files (Mono). One combined file versus one file per track is covered in Grouped vs Individual prints.

Range

Range is the stretch of the timeline the print renders. Left unset, the print renders the whole session. The Kind selector offers three:

• Time: render between two timecodes, entered as Start and End.
• Bars|Beats: the same, in bars and beats.
• Markers (Suite): pick From (Session Start or any marker) and To (any marker or Session End). fMusic reads the session's memory locations from Pro Tools when the editor opens.

Switching Kind clears the Start and End fields. fMusic validates the range as you set it, for example when the end comes before the start.

Mix source

The mix source is what the print is captured from. Each print's Mix source menu offers (Inherit) plus every route fMusic reads from the session; giving a print its own source requires fMusic Suite. Prints that inherit follow the project value from Print settings, and when nothing names a source they bounce the session's main mix.

The Print settings page

Print settings is the second page of the Export wizard and holds the project-wide values as five cards. It is re-seeded from your defaults each time you enter Export.

• Naming: Base filename (for example the song name), Suffix (for example _master), and Casing: As typed, Title Casing, UPPERCASE, Capitalize, or lowercase.
• Bounce: the project Mix source, default Inherit (project default), with the session's main output and the rest of the route catalog in the menu; Refresh I/O from Pro Tools, which re-reads the routes by briefly opening Pro Tools' I/O Setup; and Method: Online (real time), Offline (the default, faster than real time), or Automatic.
• Audio formats: one or more format rows, each AIFF, WAV, or MP3. MP3 rows pick a quality: Low (128 kbps), Medium (256 kbps), or High (320 kbps); WAV and AIFF rows pick a sample rate (44.1 up to 192 kHz) and a bit depth (16, 24, or 32). Add format adds a row, Remove this format removes one, and at least one format must remain. Sample rate and bit depth start aligned to the session until you change them. Every print renders the whole list in one run, so 48 kHz 24-bit WAV masters plus MP3 references is one pass, not two.
• Delivery: Add prints to session imports each rendered file back into the Pro Tools session as a new audio track, at the Position you pick: Session Start or Selection.
• Destination: Save In with a folder picker. With no folder chosen, files land in the session's Bounced Files folder, next to the session.

How files are named

A rendered file starts from the print name, or Print N for an unnamed print. Prints that render individual files name each file with the print name plus the track name; when the print has no name, the track name stands alone. The Suffix is appended, format rows after the first add a format tag (for example 48k_24bit, controlled per row by Add format to filename) so parallel formats never overwrite each other, the Base filename is prepended with an underscore, and Casing is applied to the finished name last.

Common delivery setups

• Mastering stems: WAV, 24-bit, 48 kHz, 1 file (Interleaved), Offline
• Remix package: WAV, 24-bit, session rate, Individual files, Offline
• Sync delivery: WAV, 24-bit, 48 kHz, 1 file (Interleaved), Offline
• Broadcast with outboard hardware: WAV, 24-bit, 48 kHz, Online