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Braus Is Here: Your Claude or ChatGPT, at Work in Pro Tools
The AI you already use can now act in your Pro Tools session. Braus is Forte's new agent, out now in beta: everything free today, and a free version that is here to stay.
Gain Staging in fMusic: Every Import Lands at the Right Level
Stems arrive at whatever level they were bounced, and the mix starts by compensating. In fMusic Suite, gain staging lands every import at a LUFS target with a true peak ceiling, set once in Settings.
Mix Delivery Checklist: What to Send Music Clients After Every Song
The mix is approved and the real questions start: which files, which formats, which stems, named how. A complete delivery checklist for music clients, from the main mix to the archive.
Match Template and Track Presets: Every Session Lands in Your Setup
Routing alone does not make an imported track yours. In fMusic Suite, track presets and match template carry plugins, sends, routing, color and automation onto every track that lands in the session.
Delivery Day: Stems, Instrumental and Radio Edit in One Pass
A finished mix is not a finished delivery. This is the fMusic Suite delivery workflow on one song: stems by category, the instrumental, a radio edit, previewed and rendered in one pass.
Every Print Its Own Recipe: Mix Source, Formats and Range in fMusic
The label wants WAV, the artist wants MP3 for WhatsApp, the radio edit ends at a marker. In fMusic Suite each print carries its own source, formats and range, and the set renders in one pass.
The fMusic Visualizer: See Your Import Before It Touches Pro Tools
Between configuring an import and seeing it in Pro Tools, fMusic now shows a timeline: waveforms in category order that you can solo, audition and reorder before anything is written.
Export Categories From Buses, Outputs and Routing Folders
Not every studio routes to buses. In fMusic Suite an export category can also point at routing folders, so stem exports follow sessions organized by folders as well as by buses.
Organize in fMusic Suite: The Inherited Session, Readable in One Pass
A session from another room has to be read before it can be worked. Organize opens the messy .ptx in fMusic, identifies every track, and writes it back renamed, colored and ordered in one pass.
Print Preview in fMusic: Hear the Bounce Before You Print It
A wrong mix source used to be a redone batch. fMusic Suite's print preview lets you audition every print, isolated per track exactly as it will render, before Pro Tools bounces anything.
fMusic for Logic Pro: Mix Prep and Stem Export, One Purchase
Logic Pro has no scripting API, and fMusic automates it anyway. What the Logic version of fMusic includes, how the bounce automation works, what it costs as a single purchase, and what it requires.
fMusic Studio vs Suite: What Each Tier Includes, Honestly
Studio carries the complete fMusic workflow, Suite adds the delivery layer. A zero spin comparison of the two tiers: the exact feature split, prices, seats, requirements, and who each one is for.
What Changed From fMusic: Every Module, Feature by Feature
Every change in the rebuilt fMusic, module by module: the new dashboard, the visualizer, Organize, prints on export, the unified queue, and what the free update means for your plan.
fMusic, Rebuilt: Native App, New Engine, and a New Organize Module
Two years after fMusic first shipped, the rebuilt version is out: a native Mac app with a new engine, a third module called Organize, and two tiers. Every existing user is upgraded free.
AAF Has No Audio in Pro Tools: The Four Causes and How to Prevent Them
The clips arrive named and silent, and the fix is almost always a re-export. The four causes, how to tell which one you are looking at, and the one email that replaces three round trips.
The Two Minute AAF Sanity Check to Run Before You Deliver
Seven checks between export and send, in the order that catches the most damage first. Every published guide covers the settings going in; this is how you inspect the file that came out.
Two Pop, FFOA and the Hour One Start: Timecode Conventions Explained
Why programmes start at 01:00:00:00, where the two pop actually sits, whether it is two seconds or 48 frames, and when drop frame matters. The conventions, with the history that explains them.
Audio Handles: What They Are For and Why Nobody Agrees on the Length
Published specs ask for anything from 50 frames to a full minute, and none admit the others exist. What handles are for, the frames math, and where each NLE hides the setting.
Editing for Sound: The Cut Decisions That Reach the Mix Stage
Sound is not a phase that starts when your job ends. The choices made while cutting decide what the mix can fix and what it cannot, and why organisation is cheap but material is not.
What a Sound Mixer Actually Needs From You Before You Send the AAF
The delivery spec in a picture editor's language: handles, track order, embedded or referenced, the reference video, timecode, and what to send alongside the AAF.
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