EXPORTING AUDIO

The export captures whatever you would hear if you hit play — the mix as it stands. Before you render, decide what the listener should hear.

• Mute any track you want to leave out. Muted tracks are excluded from the rendered file entirely.
• Solo any track you want to render in isolation. Solo respects the same rule it does during playback — only soloed tracks make sound, so the export contains only those tracks. This is the workflow for bouncing stems: solo one track, export, unsolo, solo the next, export again.
• Set volumes & pans — every fader and pan position is baked into the render. Get the balance right before you export.
• Master chain — anything on the master track (EQ, glue compressor, limiter, etc.) is applied to the final render along with the master fader. If you want a raw mix without master processing, bypass those slots first.
• Automation plays exactly as it does during playback. Lanes that are disabled stay disabled in the render.

The export renders a specific range of the timeline — a highlight. Tell Glitch where the render starts and where it stops by selecting that range before you open the export dialog.

• Click and drag horizontally on the timeline ruler to mark a range. A semi-transparent band shows the selection across the timeline.
• Adjust the start and end by dragging either edge of the band.

If you open the export dialog without making a highlight first, Glitch falls back to a default range of bar 1, beat 1 through bar 17, beat 1 — sixteen bars from the top. The dialog still lets you type exact Render Start and Render End values in bar.beat format, so you can correct the range there if you forgot to highlight.

Open the export dialog from File → Export Audio… or with the keyboard shortcut ⌘⇧E. The dialog collects the format and destination for the render.

RENDER RANGE

The dialog reads your highlight into the Render Start and Render End fields. Edit them by hand if needed — values are in bar.beat format (1.1 is bar 1, beat 1).

FORMAT

• File format — WAV or AIFF.
• Bit depth — 16, 24, or 32-bit float. Use 24-bit for almost everything; 32-bit float for headroom-preserving handoffs to a mastering engineer; 16-bit for direct-to-CD final delivery.
• Sample rate — 44.1, 48, 88.2, or 96 kHz.
• Mono — toggle Convert to Mono for single-channel output. Off by default; export is stereo.
• Dither— triangular (TPDF) dither is applied automatically when rendering to 16- or 24-bit. Skipped for 32-bit float, which doesn't need it.
• MP3 alongside — enable the MP3 section to write a 320 kbps CBR MP3 next to the uncompressed file. Same filename, same folder, different extension.

NAME & LOCATION

Pick the filename and folder with the standard save sheet. The chosen name applies to both the primary file and the optional MP3.

RENDER

Hit Export. Glitch renders at real-time speed — a sixteen-bar selection at 120 BPM takes about thirty-two seconds. A progress indicator shows how far along the render is.

// STEMS

Glitch does not render each track to its own file in one pass. For stems, solo a single track and export it on its own filename, then unsolo, solo the next track, and export again — repeat for every track you want as a stem. The render range stays put between exports, so only the filename needs to change.

// AFTER THE EXPORT

When the render finishes, Glitch reveals the new file in Finder. That is your confirmation — there is no extra notification on success. If the render fails for any reason, the dialog reopens with an error message so you can fix the issue and try again without losing your settings.