Sessions prepped.
Stems printed.

fMusic automates Pro Tools prep and delivery. Import categorizes, names and routes audio to your template. Suite’s Organize reorganizes any existing PTX in place: renamed, recolored, rerouted and reordered. Export prints stems and deliverables through Pro Tools’ own bounce engine. Every run uses a queue, including overnight batches. fMusic for Logic Pro is a separate one-time purchase.

Yes, through two products. fMusic Studio and Suite automate stem export and mix prep in Pro Tools 2024.3 or later, through its native scripting layer, PTSL. Pro Tools must run with its interface in English. fMusic for Logic Pro is a separate one-time purchase for Logic Pro 11.1 or later: routing, naming, background bounces and batch export queues.

Yes, with the Organize module on fMusic Suite. It opens any existing PTX, reads it track by track, recognizes what each track contains, and reorganizes it in place to your settings: renamed, recolored, re-routed and reordered, with stereo .L/.R pairs merged and removed tracks deleted. A PTX that arrives from another studio lands organized like your own work.

Yes, unattended. fMusic drives Pro Tools’ own bounce engine through the whole batch, print after print and format after format, so you queue the exports and step away instead of clicking through one blocking bounce at a time. It prints each file to your routing, naming and width automatically.

Yes. fMusic queues multiple sessions and processes them unattended, opening and closing each one with no manual restarts or dialogs to babysit, so you can leave a batch running overnight. On Suite, imports, organizes and exports share one queue, so a mixed batch runs in one pass.

Yes. fMusic registers global print shortcuts that work while Pro Tools is in front: one keystroke turns the tracks selected in Pro Tools into a print, soloed, muted or as one file per track, with the current timeline selection as its range. The print is waiting, already selected, the next time you open Export. You set the keys in Settings.

Yes, on fMusic Suite. Every print can be previewed and auditioned before it runs, so a wrong mix source or a muted track costs you a two-second check instead of a re-render of the whole batch.

Yes for buses, outputs and routing folders. Stem categories on fMusic Studio are built from a routing source, a bus or an output. Suite adds Folder mode: a category names one or more routing folders, soloed together and captured from the main output, so categories match sessions built on folders rather than buses. Any print can also solo a hand-picked set of tracks.

Yes. Every print declares its delivery width, mono or stereo, as one file or one file per track, so mono stays mono and stereo stays stereo, and you do not collapse width or pad mono files to dual-mono by hand. Width is set per print, once.

Yes. On import fMusic classifies the actual content of every stereo file as fake stereo (identical channels), hard-panned or true stereo, and folds it to mono by your per-case rules. Files delivered as separate .L and .R pairs are merged automatically, and every verdict stays visible so you can see what was decided and why.

fMusic exports WAV and AIFF at 16, 24 or 32-bit, and MP3 at 128, 256 or 320 kbps. Sample rates range from 44.1 kHz up to 192 kHz (44.1, 48, 88.2, 96, 176.4 and 192). You choose the format and quality per delivery.

fMusic uses Pro Tools’ own bounce functions and does not add or cut tails arbitrarily, so you configure your exports as usual. Each print carries its own range, set by timecode or bars and beats, or between two markers on Suite, so you can end the render after the last clip and tails print exactly as intended.

Yes. On export, print names, base filename, suffix and casing follow your convention, into the destination folder you choose. On import, tracks are named from what they contain, in the casing style you set, and clips can take their track’s name. Batch exports come out correctly named and organized.

Not currently. fMusic exports mono and stereo deliverables; immersive formats such as Dolby Atmos and ADM BWF are not supported today. If you need immersive delivery, tell us with a feature request and we will weigh it for the roadmap.

Not on export: fMusic prints your mix exactly as you set it and never targets streaming LUFS levels such as -14 LUFS, so your loudness decisions stay in your hands. On import, fMusic Suite includes audio normalization: an automatic level pass to the target level in dBFS you set once in Settings, measured by true peak or by RMS.

fMusic’s recognition and processing run entirely on your Mac, so your audio is never uploaded. Studio needs an internet connection while you work; Suite can also run fully offline, air-gapped rooms included. Every plan, Studio or Suite, subscription or Lifetime, includes 2 seats: two machines, such as a studio rig and a laptop.

Yes. fMusic Lifetime is a one-time payment: EUR 499 for Studio or EUR 699 for Suite, with 2 seats and every update to your tier included, no subscription and no renewals. Pick the tier on the Lifetime card, here or in your user area. The 7-day free trial is the same, no credit card.

fMusic Studio and Suite require Pro Tools 2024.3 or later on macOS 13.5 or later, with a single installer for Apple Silicon and Intel; they drive Pro Tools through PTSL, with Pro Tools’ interface in English, and macOS asks once for the Accessibility permission at first launch. fMusic for Logic Pro runs on Logic Pro 11.1 or later on macOS 11 or later. Both offer a 7-day free trial with no credit card that starts at first sign-in and expires on its own.