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PRO TOOLS HD". Mix Magazine. Retrieved February 4, 2018.
  • ^ ab"Digidesign HD Accel PCI Card". Mix Magazine. September 15, 2003. Retrieved January 7, 2020.
  • ^ abThornton, Mike (January 2008). "Digidesign Pro Tools 7.4". Sound on Sound. Retrieved February 4, 2018.
  • ^ abPrice, Simon (July 2004). "Pro Tools 6.4 Update". Sound on Sound. Retrieved February 4, 2018.
  • ^ abWherry, Mark (January 2006). "Digidesign Pro Tools 7". Sound on Sound. Retrieved February 4, 2018.
  • ^ abPrice, Simon (September 2006). "Digidesign Pro Tools 7.2". Sound on Sound. Retrieved February 4, 2018.
  • ^ abWherry, Mark (January 2009). "Digidesign Pro Tools 8". Sound on Sound. Retrieved February 4, 2018.
  • ^ abc"Digidesign Digi 001". Sound on Sound. December 1999. Archived from the original on June 9, 2015. Retrieved February 6, 2018.
  • ^ abcMark, Wherry (February 2009). "Digidesign Pro Tools 8: Part 2". Sound on Sound. Retrieved December 18, 2019.
  • ^ abPoyser, Debbie; Johnson, Derek (December 2002). "Digidesign Digi 002". Sound on Sound. Retrieved February 5, 2018.
  • ^Inglis, Sam (June 2006). "Digidesign Hybrid & Music Production Toolkit". Sound on Sound. Retrieved December 18, 2019.
  • ^ abInglis, Sam (June 2005). "Pro Tools M-Powered". Sound on Sound. Retrieved February 5, 2018.
  • ^ abInglis, Sam (January 2011). "Avid Pro Tools 9". Sound on Sound. Retrieved February 4, 2018.
  • ^ abThornton, Mike (May 2011). "Avid Pro Tools HD Native". Sound on Sound. Retrieved February 5, 2018.
  • ^"Compare Pro Tools HDX vs Pro Tools HD Native". Retrieved January 31, 2021.
  • ^Hughes, Russ (September 22, 2014). "A-Z of Pro Tools - A is for AAX". Production Expert. Retrieved December 17, 2019.
  • ^"Pro Tools DigiRack Plug-Ins Guide: Version 5.0.1 for Macintosh and Windows"(PDF). Digidesign, Inc. 2000. p. 18. Retrieved October 23, 2013.
  • ^Wherry, Mark (March 2012). "Avid Pro Tools 10". Sound on Sound. Retrieved December 18, 2019.
  • ^Avid 2019, p. 187–190, 12. Pro Tools Main Windows.
  • ^Avid 2019, p. 205–213, 12. Pro Tools Main Windows.
  • ^Avid 2019, p. 190, 12. Pro Tools Main Windows.
  • ^Avid 2019, p. 947, 43. Clip Gain and Clip Effects.
  • ^Avid 2019, p. 837–840, 38. Time, Tempo, Meter, Key, and Chords.
  • ^Avid 2019, p. 653–664, 30. Editing Clips and Selections.
  • ^Avid 2019, p. 949–950, 43. Clip Gain and Clip Effects.
  • ^Avid 2019, p. 941, 43. Clip Gain and Clip Effects.
  • ^Avid 2019, p. 188, 12. Pro Tools Main Windows.
  • ^Avid 2019, p. 995–999, 45. Committing, Freezing, and Bouncing Tracks.
  • ^Avid 2019, p. 1000–1002, 45. Committing, Freezing, and Bouncing Tracks.
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    Pro Tools HD Process and Accel systems.

    Notable software features introduced with Pro Tools 10 were editable clip-based gain automation (Clip gain), the ability to load the session's audio data into RAM to improve transport responsiveness (Disk caching), quadrupled Automatic Delay Compensation length, audio fades processed in real-time, timeline length extended to 24 hours, support for 32-bit float audio and mixed audio formats within the session, and the addition of Avid Channel Strip plug-in (based on Euphonix System 5 console's channel strip, following Avid's acquisition of Euphonix in 2010).[64][43]

    Switch to 64-bit architecture (2013)[edit]

    Pro Tools 11, released in June 2013, switched from 32-bit to 64-bit software architecture with new audio and video engines, enabling the application and plug-ins to fully take advantage of system memory. The new audio engine (AAE) introduced support of offline bouncing and simultaneous mixdowns multiple sources; dynamic plug-in processing allowed to reduce CPU usage when active native plug-ins don't receive any input. Two separate buffers were used for playback and for monitoring of record-enabled or input-monitored tracks. The new video engine (AVE) improved performance and handling of multiple CPU cores.

    Support for HD Accel systems, legacy HD interfaces, TDM and 32-bit AAX plug-ins was dropped due to their incompatibility with 64-bit architecture.[13]


    The timeline of Pro Tools 9 showing audio and MIDI tracks, running on Windows

    Pro Tools workflow is organized into two main windows: the timeline is shown in the Edit window, while the mixer is shown in the Mix window. MIDI and Score Editor windows provide a dedicated environment to edit MIDI.[65] Different window layouts, along with shown and hidden tracks and their width settings, can be stored and recalled from the Window configuration list.[66]


    The timeline provides a graphical representation of all types of tracks: the audio envelope or waveform (when zoomed in) for audio tracks, a piano roll showing MIDI notes and controller values for MIDI and Instrument tracks, a sequence of frame thumbnails for video tracks, audio levels for auxiliary, master and VCA master tracks.[67] Alternate audio and MIDI content can be recorded, shown, and edited in multiple layers for each track (called playlists), which can be used for track compositing. All the mixer parameters (such as track and sends volume, pan, and mute status) and plug-in parameters can be changed over time through automation. Any automation type can be shown and edited in multiple lanes for each track. Track-based volume automation can be converted to clip-based automation and vice versa;[71] automation of any type can also be copied and pasted to any other automation type.

    Time can be measured and displayed on the timeline in different scales: bars and beats, time or SMPTE timecode (with selectable frame rates), audio samples, or film stock feet for audio-for-film referencing (based on the 35 mm film format).[73] Tempo and meter changes can also be programmed; both MIDI and audio clips can move or time-stretch to follow tempo changes ("tick-based" tracks) or maintain their absolute position ("sample-based" tracks). Elastic Audio must be enabled to allow time stretching of audio clips.


    Audio and MIDI clips can be moved, cut, and duplicated non-destructively on the timeline (edits change the clip organization on the timeline, but source files are not overwritten).[75]Time stretching (TCE), pitch shifting, equalization, and dynamics processing can be applied to audio clips non-destructively and in real-time with Elastic Audio and Clip Effects;[77] gain can be adjusted statically or dynamically on individual clips with Clip Gain;[78] fade and crossfades can be applied, adjusted and are processed in real-time. All other types of audio processing can be rendered on the timeline with the AudioSuite (non-real-time) version of AAX plug-ins. Audio clips can be converted to MIDI data using the Celemony Melodyne engine; pitches with timing and velocities are extracted through melodic, polyphonic, or rhythmic analysis algorithms. Pitch and rhythm of audio tracks can also be viewed and manipulated with the bundled Melodyne Essential.

    MIDI notes, velocities, and controllers can be edited directly on the timeline, each MIDI track showing an individual piano roll, or in a specific window, where several MIDI and Instrument tracks can be shown together in a single piano roll with color-coding. Multiple MIDI controllers for each track can be viewed and edited on different lanes. MIDI tracks can also be shown in musical notation within a score editor. MIDI data such as note quantization, duration, transposition, delay, and velocity can also be altered non-destructively and in real-time on a track-per-track basis.

    Video files can be imported to one or more video tracks and organized in multiple playlists. Multiple video files can be edited together and played back in real-time. Video processing is GPU-accelerated and managed by the Avid Video Engine (AVE). Video output from one video track is provided in a separate window or can be viewed full screen.


    The virtual mixer shows controls and components of all tracks, including inserts, sends, input and output assignments, automation read/write controls, panning, solo/mute buttons, arm record buttons, the volume fader, the level meter, and the track name. It also can show additional controls for the inserted virtual instrument, mic preamp gain, HEAT settings, and the EQ curve for each track.[85] Each track inputs and outputs can have different channel depths: mono, stereo, multichannel (LCR, LCRS, Quad, 5.0/5.1, 6.0/6.1, 7.0/7.1); Dolby Atmos and Ambisonics formats are also available for mixing.

    Audio can be routed to and from different outputs and inputs, both physical and internal. Internal routing is achieved using busses and auxiliary tracks; each track can have multiple output assignments. Virtual instruments are loaded on Instrument tracks—a specific type of track that receives MIDI data in input and returns audio in output.

    Plug-ins are processed in real-time with dedicated DSP chips (AAX DSP format) or using the host computer's CPU (AAX Native format).

    Track rendering[edit]

    Audio, auxiliary, and Instrument tracks (or MIDI tracks routed to a virtual instrument plug-in) can be committed to new tracks containing their rendered output. Virtual instruments can be committed to audio to prepare an arrangement project for mixing; track commit is also used to free up system resources during mixing or when the session is shared with systems not having some plug-ins installed. Multiple tracks can be rendered at a time; it is also possible to render a specific timeline selection and define which range of inserts to render.[90]

    Similarly, tracks can be frozen with their output rendered at the end of the plug-in chain or at a specific insert of their chain. Editing is suspended on frozen tracks, but they can subsequently be unfrozen if further adjustments are needed. For example, virtual instruments can be frozen to free up system memory and improve performance while keeping the possibility to unfreeze them to make changes to the arrangement.[91]


    The main mix of the session—or any internal mix bus or output path—can be bounced to disk in real-time (if hardware inserts from analog hardware are used, or if any audio or MIDI source is monitored live into the session) or offline (faster-than-real-time). The selected source can be mixed to mono, stereo, or any other multichannel format. Multichannel mixdowns can be written as an interleaved audio file or in multiple mono files. Up to 24 sources of up to 10 channels each can be mixed down simultaneously—for example, to deliver audio stems.

    Audio and video can be bounced together to a MOV file; video is transcoded with the DNxHD, DNxHR, Apple ProRes, and H.264 video codecs.

    Session data exchange[edit]

    Session data can be partially or entirely exchanged with other DAWs or video editing software that support AAF, OMF, or MXF. AAF and OMF sequences embed audio and video files with their metadata; when opened by the destination application, session structure is rebuilt with the original clip placement, edits, and basic track and clip automation.

    Track contents and any of its properties can be selectively exchanged between Pro Tools sessions with Import Session Data (for example, importing audio clips from an external session to a designated track while keeping track settings or importing track inserts while keeping audio clips).[95] Similarly, the same track data for any track set—a given processing chain, a collection of clips, or a group of tracks with their assignments—can be stored and recalled as Track Presets.

    Cloud collaboration[edit]

    Pro Tools projects can be synchronized to the Avid Cloud and shared with other users on a track-by-track basis. Different users can simultaneously work on the project and upload new tracks or any changes to existing tracks (such as audio and MIDI clips, automation, inserted plug-ins, and mixer status) or alterations to the project structure (such as tempo, meter, or key).

    Field recorder workflows[edit]

    Pro Tools reads embedded metadata in media files to manage multichannel recordings made by field recorders in production sound. All stored metadata (such as scene and take numbers, tape or sound roll name, or production comments) can be accessed in the Workspace browser.

    Analogous audio clips are identified by overlapping longitudinal timecode (LTC) and by one or more user-defined criteria (such as matching file length, file name, or scene and take numbers). An audio segment can be replaced from matching channels (for example, to replace audio from a boom microphone with the audio from a lavalier microphone) while maintaining edits and fades in the timeline, or any matching channels can be added to new tracks.

    Multi-system linking and device synchronization[edit]

    Up to twelve Pro Tools Ultimate systems with dedicated hardware can be linked together over an Ethernet network—for example, in multi-user mixing environments where different mix components (such as dialog, ADR, effects, and music) reside on different systems, or if a larger track count or processing power is needed. Transport, solo, and mute are controlled by a single system and with a single control surface. One system can also be designated for video playback to optimize performance. Pro Tools can synchronize to external devices using SMPTE/EBU timecode or MIDI timecode.


    Pro Tools software is available in a standard edition (informally called "Vanilla")[103] providing all the key features for audio mixing and post-production, a complete edition (officially called "Ultimate" and known as "HD" between 2002 and 2018), which unlocks functionality for advanced workflows and a higher track count, and a starter edition, called "First", providing the essential features.

    Pro Tools Ultimate - Audio Editing Software - Features". Avid. July 25, 2019. Archived from the original on July 25, 2019. Retrieved December 17, 2019.
  • ^ abcdeWherry, Mark (April 2012). "Avid HDX". Sound on Sound. Retrieved February 5, 2018.
  • ^ abThornton, Mike (February 2015). "Working Late". Sound on Sound. Retrieved December 18, 2019.
  • ^Thornton, Mike (April 2009). "Track Comping". Sound on Sound. Retrieved December 17, 2019.
  • ^ abAvid 2020, p. 412–413, 21. Importing and Exporting Session Data.
  • ^"Sound Designer II audio file support with Pro Tools 10.3.6 and higher". Retrieved December 17, 2019.
  • ^Sherbourne, Simon (October 18, 2017). "Ambisonics and VR/360 Audio in Pro Tools 24
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    1999 Pro Tools 5 integrated MIDI and audio editing/mixing, MIDI piano-roll display, graphic MIDI velocity editing, MIDI quantize
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    2000 Pro Tools LEDigi 001 (LE) mid-level recording system with 24 tracks, 8 analog I/O channels, 2 microphone preamps, 24-bit AD/DA, digital I/O and MIDI
    rack-mountable interface connected with a PCI card running a new feature-limited software line ("Light Edition") with RTAS host-based processing (without DSP)[54]
    Control 24 (2007) was a revision of Control 24 with improved preamps, while Icon D-Control ES (2008) and Icon D-Command ES (2009) were redesigns of Icon D-Control and D-Command.[43]

    In 2010 Avid acquired SoftX HTTP Monitor Pro v3.1 Keymaker crack serial keygen, manufacturer of the Artist Series, and System 5 control surfaces. They were integrated with Pro Tools along with the EuCon protocols. Avid S6 (2013) and Avid S3 (2014) control surfaces followed by merging the Icon and System 5 series. Pro Tools Dock (2015) was an iPad-based control surface running Pro Tools Control software.[108]

    Timeline of Pro Tools hardware and software[edit]

    Year Software Hardware Release information
    1985 Sound Designer Macintosh-based visual sample editing software developed for the E-Mu Emulator II sampler
    dedicated ports of the original software were subsequently released for Emax, Prophet 2000, S900, DSS-1, and Mirage samplers[20]
    1987 Sound Designer 1.5 Sound Accelerator universal version with enhanced editing features through Mac's hardware (mix, pro tools 2020.3 crack mac Archives, crossfade, gain and equalization) and supporting a variety of samplers
    compatible with Sound AcceleratorNuBus card, equipped with one Motorola 56001 chip, providing dedicated DSP hardware[20]
    1989 Sound Tools stereo hard-disk recording and editing system with 16-bit audio, 44.1 kHz or 48 kHz sample rate adopting the SDII proprietary audio format[109]
    relies on a Sound AcceleratorNuBus card connected to an external 2-channel AD converter and Sound Designer II software running on Macintosh SE and Mac II
    Sound Designer II Sound Accelerator
    Audiomedia I
    1991 Pro Tools Mac-based 4-track digital production system handled by ProEdit (editing software) and ProDeck (mixing software)
    MIDI sequencing and automation[109]
    1992 Pro Tools 1.1 4–16 voices support in mixing using up to four cards/interfaces[109]
    Sound Tools II support for Pro Master 20 interface with 20-bit A/D conversion
    1993 Pro Tools II editing and mixing software merged in a single application called Pro Tools with the component DAE (Digidesign Audio Engine)
    4 voices support[42]
    Audiomedia II
    1994 Pro Tools II TDM (2.5) TDM technology enables real-time effects to run as software plug-ins; up to 4 NuBus cards can be linked together[42]
    Pro Tools III 16–48 voices on NuBus-based Mac systems (up to three cards linkable)
    DSP Farm NuBus card equipped with 3 Motorola 56001 chips (40 MHz clock speed) for additional processing power[37]
    software editing functionality improved
    DSP Farm
    1996 Pro Tools III PCI 16–48 voices for PCI-based Mac systems (up to 3 cards linkable)
    88x series interfaces with 8 channels I/O, pro tools 2020.3 crack mac Archives, 16-bit AD/DA VDownloader Plus 5.0.4113 Crack Full Version Download, AES/EBU I/O[42]
    DSP Farm PCI card equipped with 4 Motorola 56002 chips (66 MHz clock speed)[39]
    Pro Tools 3.21 888 I/O, 882 I/O
    DSP Farm
    1997 Pro Tools pro tools 2020.3 crack mac Archives Pro Tools Project Card WAV and QuickTime file support; Sound Designer file editing features integrated into AudioSuite toolset
    runs on Pro Tools III NuBus/PCI systems or without TDM hardware with limitations (Project or PowerMix versions)
    destructive editing integrated, fade improvements, Strip Silence, continuous playback during editing, independently resizable tracks, pro tools 2020.3 crack mac Archives, up to 26 track groups, automation extended to all mixer and plug-in parameters, new automation modes
    Loop Record, pro tools 2020.3 crack mac Archives, Half-Speed Record, Destructive Record, QuickPunch (punch-in and out recording during playback)
    Edit window configurations can be saved and recalled with Memory Locations[42][110]
    Pro Tools 24
    1998Pro Tools pro tools 2020.3 crack mac Archives Ultimate and immediate access to HDX’s onboard DSP, you can run bigger sessions more smoothly—even with one-card systems. And with the ability to toggle between Native and DSP modes on a track-by-track basis, you can nullify the distracting effects of latency simply by clicking a button.

    Learn all about the HDX Hybrid Engine

    HDX with Hybrid Engine used with Pro Tools and mixing console

    Pro Tools adds support for M1 Macs

    With the June 2021 release, you can now run Pro Tools

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