SAVE/EXPORT FILE FORMATS
- Fl Studio Export Midi
- Best Fl Studio Wav Export Settings 2017
- Fl Studio Wav File
- Best Fl Studio Audio Settings
- Best Fl Studio Wav Export Settings 2017
Export .wav or .mp3 audio files to be played in a media player, car stereo or hi-fi. The final mix is exported from FL Studio using the export option in the file menu in a non-real time process called 'rendering'. The time taken will depend on export settings and project complexity. Rendered audio is usually better quality than the live sound from FL Studio.
About Rendering
Export Project Dialog (.wav;.mp3,.ogg,.flac,.mid) Export.wav or.mp3 audio files to be played in a media player, car stereo or hi-fi. The final mix is exported from FL Studio using the export option in the file menu in a non-real time process called 'rendering'. The time taken will depend on export settings and project complexity. Clutch discography blogspot movies.
- Master Mixer Track - By default, the Master Mixer track is rendered, unless you are using 'Split mixer tracks'. This means any Mixer Track not routed directly, or indirectly to the Master won't be included in the render.
- Export formats include:
- Audio - .wav, .mp3, .ogg & .flac formats save an audio mix of your project. By default, the Master Mixer track is rendered, but you can export individual Mixer tracks with the 'Split mixer tracks' option. See the note below on including sounds from external synthesizers and audio hardware.
- MIDI - .mid saves Step Sequencer / Piano roll note data to standard MIDI files. MIDI is not an audio format.
- Render length - The total length of the render depends on the following:
- 'Song mode' - Length is set by this hierarchy: 1. Any time-line selection, 2. The last time-marker beyond the last bar containing data. 3. The end of the last bar containing data AND 4. The Tail setting.
- 'Pattern mode' - Length is set by this hierarchy: 1. The last time-marker beyond the last bar containing data in the Pattern. 2. The end of the last bar containing data in the Pattern AND 3. The Tail setting.
- Saving projects - Exporting to audio is not necessary to save your project for later work, use the File menu project Save option to .flp or .zip.
- Exporting stems to audio can be helpful when sending your project to a professional mixing or mastering engineer. In this tutorial, you’ll learn how to export stems in FL Studio. Let’s get started! Step 1: Proper Mixing. In order for you to successfully export stems in FL Studio, you’ll need to make sure you’ve properly routed the.
- How to Import Sound Samples Onto FL Studio. This wikiHow teaches you how to import sound samples, like new instruments or effects, into FL Studio. If you don't have sound samples available, you can download them from FL Studio's.
Recording External Hardware
To include sounds from external hardware such as a synthesizer, drum-machine or sampler in the final render:
- Make MIDI connections to the device from your computer AND audio connections from the device to your audio device inputs.
- Record the sound as it is played by FL Studio (using a MIDI Out plugin to drive the hardware).
- Place the recorded audio as an Audio Clip in the Playlist.
- Render the project to audio as shown below.
Settings
We recommend watching the video A Digital Show and Tell (by Monty @ Xiph.org) to learn about how digital audio works. It will help you to understand why more and higher settings for 'everything' is not necessarily better.
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Project type
- Mode - Choose to render the whole Song or the currently selected Pattern. In 'Song' mode, the length of your rendered song rendered is set by this hierarchy: 1. Any time-line selection, 2. The last time-marker beyond the last bar containing data. 3. The end of the last bar containing data AND 4. The Tail setting.
- Tail - Decides how decaying effects, after the end-point of the song, will be handled. For example, normally you don't want the decaying reverb chopped off at the end of the song (leave remainder) or, if you are creating loops blending the end reverb back into the start can make the loop smoother (wrap remainder). Leave remainder is the default. NOTE: If you are making loop files use .wav format, .mp3 in particular leaves a small silence at the start of the sound that will interfere with looping.
- Leave remainder - Extends the render length to capture decaying sounds. If 'Leave remainder' fails to capture tail audio, add a PlaylistRepeat markerto extend the render end-point. If repeat markers are placed after the last Pattern, Audio or Automation Clip in the Playlist, the project will be rendered up to the position of the Repeat marker.
- Wrap remainder - Wraps any decaying sound at the end of the song back onto the beginning of the render. This is useful when rendering loops with effects to create the smoothest loop. NOTE: This feature works by starting the render at the last bar, then mixing any audio decaying after the last bar back into the start of the song. If the decaying sound comes from notes before the last bar it won't be wrapped.
- Cut remainder - Cuts the render at the end of the last bar, selection or time marker.
- Length - Reports the length of the song, pattern or selection in bars to be exported in Bars.
- Total Time - Shows total time length of the song, pattern or selection to be exported in H:M:S.
- Disk Space - Shows the disk space required to hold exported audio file/s. If more than one save format is selected in the Output panel the combined total is reported.
Output format
Select the output format/s for the project render. To save in more than one format simply select multiple options.
NOTE: Sample rate - The output (Mixer) sample rate is set in the Audio Settings window.
- WAV - Wave (Lossless Uncompressed Audio). Wave is a lossless audio format and preferred for handling audio in a production environment (use it to save all your samples, sounds and archive material). The drop-down menu contains bit-depth options for the exported wave file.
- WAV bit depth - Bit-depth affects the noise-floor of the sample. This determines the quietest sound that can be captured or smallest changes in loudness that can be resolved. Generally 16 Bits is enough for music distribution. Use 24 or 32 Bit for archiving music production files.
- 16-Bit integer wave is the highest-quality audio file compatible with a wide range of playback devices. It's also the CD audio format so if you want to create audio files compatible with CDformat use 44.1 kHz, 16-Bit .wav files make sure to set 44.1 kHz in the Audio Settings window. NOTE: FL Studio does not burn to CD format, it creates audio files ready for burning. Use any VST CD burning program to create the audio CD.
- 24-Bit integer wave is a common bit-depth used by DAW hardware & some older DAW software. Use this bit-depth if 32-Bit (see below) float is not supported by the device or application.
- 32-Bit floating point is the native format of FL Studio's mix engine. Render to 32-Bit float when you intend to continue mixing or editing the file in another application (wave editor or DAW) that supports the 32-Bit float format. 32-Bit float provides more precision for audio processing and so will ensure the highest quality is preserved during post-production activities.
- Sample rate (not shown here) - Set the FL Studio project sample rate in the Audio Settings.
- Sample rate affects the highest frequency that can be captured by the sample. Values between 22000 Hz (22 kHz) and 192000 Hz (192 kHz) are possible. As 44100 Hz (44.1 kHz)is the CD standard and is capable of capturing the entire frequency range humans can hear (20 Hz to 20 kHz), use it. You should have a specific reason for using sample rates above 44.1 kHz. For example, video often uses 48 kHz as the default sample rate for audio. Set the FL Studio sample rate in the Audio Settings.
- WAV bit depth - Bit-depth affects the noise-floor of the sample. This determines the quietest sound that can be captured or smallest changes in loudness that can be resolved. Generally 16 Bits is enough for music distribution. Use 24 or 32 Bit for archiving music production files.
- Channels - Number of channels in the file. NOTE: These are 'stereo' channels not 'Instrument Channels'.
- Stereo - Two channels for the Left and Right speakers.
- Mono (merged) - One channel where the left and right channels are merged into a single channel.
- Mono (left only) - One channel where the left channel data is saved as a Mono file.
- Mono (right only) - One channel where the right channel data is saved as a Mono file.
- MP3/OGG - Lossy Compressed Audio: MP3 (Mpeg Layer 3) and ogg(Ogg Vorbis) are both 'lossy' formats that compact the audio to save space. This means that at lower bit-rate settings you may hear unwanted artifacts often described as 'underwater sounds' or 'bubbling'. The slider sets bit-rate of the mp3/ogg audio file, as bit-rate increases the audio quality improves, but at the expense of file size.
- What bit-rate should I use?
- 64 kb/s (or less) is useful for low-quality internet 'demo' tracks. Compression artifacts will be noticeable.
- 128 kb/s is the point where 'acceptable' quality starts for the majority of people. It is useful for web streaming and e-mailing music files.
- 160 kb/s is the point where it becomes difficult for many people to distinguish CD from MP3 (not discerning FL Studio producers, of course). It is a good minimum bit-rate to use for music distribution and listening purposes.Some material may still produce audible compression artifacts. Listen carefully to the entire track with headphones if quality is important and consider a higher bit-rate.
- 224 kb/s (or greater) and mp3/ogg become practically indistinguishable from CD under normal listening conditions. It is a good minimum Bit rate to use for archival of a quality compressed copy ofaudio. bit-rates of 224, or greater, can be useful when collaborating over the Internet and you need to share audio files that may be impractical in CD .wav format (1400 kb/s).
NOTES: The maximum bit-rate for MP3 is 320 kbps and 450 kbps for ogg. The relationship between kbps setting and the audibility of artifacts will depend on the material being rendered and the listening environment. You should always check your rendered files with a good pair of headphones prior to release. Sample rates - the MP3 standard only supports 3 rates (32000, 44100 and 48000 Hz). Setting the FL Studio sample rate outside these values will result in MP3 rendering errors. The MP3 conversion introduces a small silence at the start of the file in addition to the original audio. For this reason it's not suitable for use where time-alignment of the audio is critical (loops, samples, vocal tracks etc). Where possible use at least 16-Bit .wav format when sharing or saving audio in a production environment. - What bit-rate should I use?
- FLAC - Lossless Compressed Audio. FLAC (Free Lossless Audio Codec) is similar to WAV format in retaining all audio information in the encoded waveform. FLAC has the additional useful property of significantly compressing (reducing) the file size. FLAC files are typically between 20 to 30% smaller than the equivalent WAV file, all while retaining a bit-perfect copy of the original data. NOTE: This is file-size, data compression, similar to .zip etc. It is not audio-level compression.
- Compression Level - This setting determines the effort put into reducing the size of the audio file. The difference in file size between level 0 (least effort) and 8 (most effort) is usually around 10%, a relatively small difference, prepare to be underwhelmed.
- 0 - Fastest compression, slightly larger files.
- 5 - Default setting.
- 8 - Slowest compression, slightly smaller files.
NOTE: All FLAC compression settings are bit-identical after decompression (lossless is lossless). Given the differences in file sizes between compression settings is minimal, it doesn't matter much which one you use, it only affects encoding time. The typical encoding time for a setting of 0 is around 4x faster than 8. - FLAC bit depth - Choose 16 or 24 Bit. See the WAV format section for a discussion on bit-depth.
NOTE: FL Studio automatically imports FLAC files and converts them to WAV format, when loaded on the Playlist or in plugins such as Edison or Slicex. - Compression Level - This setting determines the effort put into reducing the size of the audio file. The difference in file size between level 0 (least effort) and 8 (most effort) is usually around 10%, a relatively small difference, prepare to be underwhelmed.
- MIDI - MIDI is a standard note & automation data format and will save the contents of the Step Sequencer and Piano roll. As note data is saved along with FL Studio project, only export to MIDI if you intend to import the note data into a 3rd party application. To export:
- Make sure to save your project in its current state, the next step will replace Channel instruments.
- Use the macro Prepare for MIDI export on the main Tools menu that replaces all Channels with auto-configured MIDI Out plugins.This is necessary to export project-wide MIDI in the correct multi-channel format. To export individual Piano roll data as MIDI files use the Piano roll menu option'Export as MIDI file'.
- Select MIDI on the Export Project Dialog and press Start.
- Don't save your project in this state you will lose the original Channel settings. Save to a new project if required.
NOTE: MIDI is not an audio format. If your media player can play MIDI files it is using the synthesizer/sampler built into your audio device to create audio from the MIDI data.
Quality (Numerical Processing)
These quality settings relate to the computational accuracy of FL Studio synthesizers and effects when exporting. Leaving these at the default settings and you definitely will not ruin any mix. They do not normally play an important role in the Audible quality of the exported files.
NOTE: Before using these controls we highly recommend watching the above video that thoroughly covers the concepts of Digital Audio, Quantization and Dithering.
- Resampling - Select the waveform interpolation method used for Sampler/Audio-Clip channels. Interpolation is a curve fitting process that computes intermediate sample amplitude data between the known sample points (filling in the gaps). This is required when samples are transposed from their original pitch or sample-rate and the program calls for a sample value out of sync with the source --args -R -Emp3 -F'/Applications/FL Studio Mac Beta.app/Contents/Resources/FL/Data/Projects/Demo songs/'
- Single project -
Open '/Applications/FL Studio.app' --args -R -Emp3 -F'/Applications/FL Studio Mac Beta.app/Contents/Resources/FL/Data/MyProjects/Target Project.flp'
Syntax (Render Audio File)
/R[filename] /E
./F [project.flp] - Options:
/R:
- Render project.flp to an audio file. The optional filename parameter (extension is ignored, path not) specifies the output filename. If no filename is specified, it renders to project.wav./E:
- specify which format you want to export to, separated by commas. Example: /Emp3,ogg,wav/F:
- specify a source folder. All .flp files in this folder will be rendered. Example: /Fd:MyProjects/O:
- specify a destination folder. All files specified by /R or /F will be rendered to this folder. Example: /Od:MyRenderings/D:
- Diagnostics option (will set specific diagnostics rendering defaults)
- Options:
Syntax (Render MIDI File)
/M
- Option:
/M:
. Render all flp files in the folder to a MIDI files.
- Option:
Misc
/BMP: - Turn the Wallpaper to Piano roll feature on. No options.
/PPI: - Specify a PPI value for FL Studio to use. 0 will use the value from the registry. Example: /PPI384
How do I improve how my mixes sound on streaming services such as Spotify, SoundCloud and YouTube?
By Rob Stewart - JustMastering.com - Last updated on April 13, 2019
![Best fl studio wav export settings for windows 10 Best fl studio wav export settings for windows 10](https://i.ytimg.com/vi/gwLf8CdC93o/mqdefault.jpg)
Bottom line:
- While mp3 and other streaming audio technology has limitations, you can improve how your mixes sound over these formats.
- Loudness normalization is now used widely, giving more reason to create mixes with wide open dynamics which will improve how they sound when streamed.
I often receive questions about how to improve sound quality on streaming music and video sites such as Spotify, SoundCloud and YouTube. This article addresses those questions and my suggestions apply to any streaming service or any lossy file or streaming format (Mp3, Ogg, AAC etc.).
Some things to note about music streaming services:
- they are all different (some sites simply have higher quality sound than others)
- they use lossy encoding formats for streaming out of necessity, and the trick is how to work within the limits of the lossy format
- some use loudness normalization, meaning if your mix is too loud, the service will reduce its gain to align to a target
- your recording quality and mix quality will have the biggest impact on the resulting sound quality after encoding
- that last point is worth repeating - your recording and mix quality have the most significant impact on the resulting sound quality
Is there such a thing as Mastering for SoundCloud or YouTube?
I personally do not set out to master a track specifically 'for SoundCloud' or 'for YouTube'. I follow the recommended practices for Mastered for iTunes which - in my view - apply to any lossy format (such as avoiding clipping and distortion, and keeping peaks below -1 to -1.5dBFS).
Streaming formats used by SoundCloud, YouTube and other websites will be here for awhile, so it is important to understand how to make the best of these formats. The spin-off benefit to improving your sound on SoundCloud and YouTube, is that - in general - you will achieve better recordings and mixes, too!
Improve the sound of your mixes on SoundCloud and Spotify
This advice applies to any music streaming site. If you search the internet to learn about the sound quality of SoundCloud, you will find many forum discussions where countless people express their frustration at how their mixes sound after they post them to a streaming service, such as SoundCloud. The issue is not SoundCloud's or Spotify's fault. It is possible to achieve a relatively high sound quality on SoundCloud and other streaming audio sites.
Fl Studio Export Midi
At the time of this writing, SoundCloud converts all uploads to a lossy format for streaming purposes. While lossy formats have limitations, they are a necessary evil because of today's internet bandwidth limitations. Despite those limitations, it is possible to achieve a relatively high sound quality when streaming your music.
First, it is important to understand a little bit about how lossy compression works. Using Mp3 as an example - and without getting too deep into details - Mp3 uses something called 'perceptual coding' to compress audio. At a very high level, all that means is that the encoder analyzes your music and removes pieces of it that it doesn't think you can hear (elements that are hidden by more prominent elements in the mix). For example, at 128kbps, the encoder will remove anything above 16kHz (many people cannot hear too far beyond that point). It may also remove parts of your mix that are masked by stronger elements. To get a sense for pieces that get removed, please check my 'Issues With Lossy Formats' article.
Best Fl Studio Wav Export Settings 2017
![Settings Settings](https://www.zanderjaz.com/wp-content/uploads/2019/08/mp3-wav-export-settings-fl-studio-2.jpg)
Optimize your mixes for any streaming service
Perceptual coding schemes typically respond poorly to complexity such as distortion because it can often be harmonically rich, and wide-bandwidth, and that is the root of most of my suggestions. Having said that, here are my recommendations for achieving the very best sound quality when posting your mixes to any streaming service, including SoundCloud:
- Create the cleanest recordings possible, prior to mixing (avoid unintentional distortion, significant background noise etc). Noise, distortion, rumble and other non-musical information in your recording will create more work for the encoder. Strive for the purest, clearest recordings. You can always add color selectively to certain tracks but avoid capturing dense, congested color or 'mojo' on every single track. Remember that less is more, and the contrast of 'clean' and 'colored' tracks in your mix is what will make it interesting, while making the encoder's job a little easier.
- Follow my critical mix tips. Remember, the more you do to achieve a clear, lively, and dynamic mix, the more chance it will sound good when converted to a lossy format like Mp3. Keep your mix open, dynamic and clean.
- Avoid heavy use of saturation and distortion. Distortion is often wide-bandwidth in nature which presents several problems for perceptual coding (i.e. how does it know what parts of the distortion are intended to be 'musical' and which are not and could be removed?).
- Avoid overly dense or congested mixes. Craft mixes in such a way that each of the elements are clearly defined (have their own space in the mix) and that there is no congestion. The most challenging scenario is a mix with several heavily distorted guitars. In that case, it is necessary to carve out enough sonic space for each guitar so that they can clearly be heard. If they sound like they are blending into one big guitar sound, then a lossy encoder may have challenges with it.
- Avoid heavy limiting and dynamic compression. I say this for a few reasons. First, it adds harmonics (distortion, which is wide-bandwidth), but it can sometimes fill in the sonic spaces that the encoder is looking for with those harmonics, forcing the encoder to make more compromises. Many mix engineers like to compress to 'glue' a mix together, and that's certainly valid in some cases, however when it is overdone, there simply isn't enough space in the mix for the encoder to figure out what elements can be safely removed during encoding.
- Keep peaks below -1dBFS, I would even suggest -1.5dBFS or even -2dBFS if you are working from a 24-bit file. Since many encoding schemes do not handle peaks that are at (or near) 0dBFS very well, you can end up with a lot of distortion on the transients.
- Consider lowering the gain of your mix. Pull the gain on your mix down so that the average levels are below -12 to -16dBFS. Better yet, consider some of the newer 'loudness monitoring' options out there such as metering that is based on Loudness Units Full Scale (LUFS), and set the 'loudness' of your mix somewhere between -16 and -23LUFS (before mastering) and when self-mastering, aim for masters that fall between -12 and -16LUFS.
- Export your mixes in a lossless format such as *.WAV or *.AIF. If you export to a lossy format such as Mp3 from the start, then SoundCloud will be re-encoding from one lossy format to another (this is called 'transcoding' and it degrades the quality even further).
- If (and only IF) none of the steps above have helped, consider low-passing your mix with a 6 or 12dB-per octave roll-off so that energy from 14-15kHz and above is reduced, and high-passing it at around 35-40Hz. In theory, this step should never be necessary but in the event that there is something unusual happening beyond the lowest/highest extremes, this pre-filtering stage may help improve things. Use caution and careful monitoring, though (there can be music way down at the bottom - the lowest A on a Piano is 27Hz!).
Fl Studio Wav File
Best Fl Studio Audio Settings
If you are skeptical about any of my suggestions, above, consider this fact: Mp3 predates the loudness war. It was developed in the early 1990s and was made available for widespread usage in 1995. The song 'Tom's Diner' by Suzanne Vega is considered the 'Mother of Mp3' because Karlheinz Brandenburg used this song (among several others of course) to fine tune his Mp3 enoding scheme. 'Tom's Diner' was released in 1987 - well before the so-called 'loudness wars' ever started - and also long before mainstream home recording became as popular and advanced as it is today (in 1987, many home recordists used cassette-based 4-track multi-track machines - how far we've come!!). Mp3 has surely evolved also, but it is important to note mixes with very heavy dynamic compression, saturation and 'maximization' - that are often heard today - were more of a rarity in 1987.