Product Code Database
Pro Tools is a digital audio workstation (DAW) developed and released by Avid Technology (formerly Avid Audio) for Microsoft Windows and OS X. It is used for music creation and production, sound for picture (sound design, audio post-production and mixing) and, more generally, sound recording, editing, and mastering processes.
Pro Tools operates both as standalone software and in conjunction with a range of external analog-to-digital converters and PCIe with on-board digital signal processors (DSP). The DSP is used to provide additional processing power to the host computer for processing real-time effects unit, such as reverb, equalization, and compression and to obtain lower latency audio performance. Like all digital audio workstation software, Pro Tools can perform the functions of a multitrack tape recorder and a mixing console along with additional features that can only be performed in the digital domain, such as non-linear and non-destructive editing (most of audio handling is done without overwriting the source files), track compositing with multiple playlists, time compression and expansion, , and faster-than-real-time mixdown.
Audio, MIDI, and video tracks are graphically represented on a timeline. Audio effects, virtual instruments, and hardware emulators—such as microphone preamps or guitar amplifiers—can be added, adjusted, and processed in real-time in a virtual mixer. 16-bit, 24-bit, and 32-bit float audio bit depths at up to 192 kHz are supported. Pro Tools supports mixed bit depths and audio formats in a session: BWF/WAV (including WAVE Extensible, RF64 and BW64) and AIFF. It imports and exports MOV video files and ADM BWF files (audio files with Dolby Atmos metadata); it also imports MXF, ACID and REX files and the lossy formats MP3, AAC, M4A, and audio from video files (MOV, MP4, M4V). The legacy SDII format was dropped with Pro Tools 10, although SDII conversion is still possible on macOS.
Pro Tools has incorporated video editing capabilities, so users can import and manipulate 4K and HD video file formats such as DNxHR, DNxHD, ProRes and more, either as MXF files or QuickTime MOV. It features time code, tempo maps, elastic audio, and Track automation; supports mixing in surround sound, Dolby Atmos and Virtual reality sound using Ambisonics.
The Pro Tools TDM mix engine, supported until 2011 with version 10, employed 24-bit fixed-point arithmetic for plug-in processing and 48-bit for mixing. Current HDX hardware systems, HD Native and native systems use 32-bit floating-point resolution for plug-ins and 64-bit floating-point summing. The software and the audio engine were adapted to 64-bit architecture from version 11.
In 2015 with version 12.0, Avid added the subscription license model in addition to perpetual licenses. In 2022, Avid briefly stopped selling Pro Tools perpetual licenses, forcing users to subscription licenses to a subscription model. After considerable customer uproar, in 2023 Avid reintroduced selling perpetual licenses via resellers. Pro Tools subscription plans include Artist, which costs $9.99 per month or $99 per year; Pro Tools Studio, which costs $39.99 per month or $299 per year; and Pro Tools Flex, which costs $99.99 per month or $999 per year. Later in 2022, Avid launched a free version: Pro Tools Intro.
In 2004, Pro Tools was inducted into the TECnology Hall of Fame, an honor given to "products and innovations that have had an enduring impact on the development of audio technology."
In 1983, the two friends, sharing an interest in music and electronic and software engineering, decided to study the memory mapping of the newly released E-mu Drumulator drum machine to create EPROM sound replacement chips. The Drumulator was quite popular at that time, although it was limited to its built-in samples.
They started selling the upgrade chips one year later under their new Digidrums label. Five different upgrade chips were available, offering different alternate drum styles. The chips, easily switchable with the original ones, enjoyed remarkable success between the Drumulator users, selling 60,000 units overall.
Brooks and Gotcher rapidly ported Sound Designer to many other sampling keyboards, such as E-mu Emax, Akai S900, Sequential Prophet 2000, Korg DSS-1, and Ensoniq Mirage. Thanks to the universal file specification subsequently developed by Brooks with version 1.5, Sound Designer files could be transferred via MIDI between sampling keyboards of different manufacturers. This universal file specification, along with the printed source code to a 68000 assembly language interrupt-driven MIDI driver, was distributed through Macintosh MIDI interface manufacturer Assimilation, which manufactured the first MIDI interface for the Mac in 1985.
Starting from the same year, a dial-up service provided by Beaverton Digital Systems, called MacMusic, allowed Sound Designer users to download and install the entire Emulator II sound library to other less expensive samplers: sample libraries could be shared across different manufacturers platforms without copyright infringement. MacMusic contributed to Sound Designer's success by leveraging both the universal file format and developing the first online sample file download site globally, many years before the World Wide Web use soared. The service used 2400-baud modems and 100 MB of disk space with Red Ryder host on a 1 MB Macintosh Plus.
With the release of Apple Macintosh II in 1987, which provided card slots, a hard disk, and more capable memory, Brooks and Gotcher saw the possibility to evolve Sound Designer into a featured digital audio workstation. They discussed with E-mu the opportunity of using the Emulator III as a platform for their updated software, but E-mu rejected this offer. Therefore, they decided to design both the software and the hardware autonomously. Motorola, which was working on its 56K series of digital signal processors, invited the two to participate in its development. Brooks designed a circuit board for the processor, then developed the software to make it work with Sound Designer. A beta version of the DSP was ready by December 1988.
Sound Tools was bundled with Sound Designer II software, which was, at this time, a simple mono or stereo audio editor running on Macintosh SE or Macintosh II; digital audio acquisition from DAT was also possible. A two-channel digital interface (DAT-I/O) with AES/EBU and S/PDIF connections was made available later in 1989, while the Pro I/O interface came out in 1990 with 18-bit converters.
The file format used by Sound Designer II (SDII) became eventually a standard for digital audio file exchange until the WAV file format took over a decade later. Since audio streaming and non-destructive editing were performed on hard drives, the software was still limited by their performance; densely edited tracks could cause glitches. However, the rapidly evolving computer technology allowed developments towards a multi-track sequencer.
The first Pro Tools system was launched on June 5, 1991. It was based on an adapted version of Deck (ProDeck) along with Digidesign's new editing software, ProEdit, created by Mark Jeffery; Sound Designer II was still supplied for two-channel editing. Pro Tools relied on Digidesign's Audiomedia card, mounting one Motorola 56001 processor with a clock rate of 22.58 MHz and offering two analog and two digital channels of I/O, and on the Sound Accelerator card. External synchronization with audio and video tape machines was possible with SMPTE timecode and the Video Slave drivers. The complete system was selling for US$6,000.
Sound Tools II was launched in 1992 with a new DSP card. Two interfaces were also released: Pro Master 20, providing 20-bit A/D conversion, and Audiomedia II, with improved digital converters and one Motorola 56001 processor running at 33.86 MHz.
In 1993, Josh Rosen, Mats Myrberg and John Dalton, the OSC's engineers who developed Deck, split from Digidesign to focus on releasing lower-cost multi-track software that would run on computers with no additional hardware. This software was known as Session (for stereo-only audio cards) and Session 8 (for multichannel audio interfaces) and was selling for US$399.
Peter Gotcher felt that the software needed a significant rewrite. Pro Tools II, the first software release fully developed by Digidesign, followed in the same year and addressed its predecessor's weaknesses. The editor and the mixer were merged into a single Pro Tools application that utilized the Digidesign Audio Engine (DAE) created by Peter Richert. DAE was also provided as a separate application to favor hardware support from third-party developers, enabling the use of Pro Tools hardware and plug-ins on other DAWs. Selling more than 8,000 systems worldwide, Pro Tools II became the best-selling digital audio workstation.
In the same year, Digidesign announced that it merged into the American multimedia company Avid Technology, developer of the digital video editing platform Media Composer and one of Digidesign's major customers (25% of Sound Accelerator and Audiomedia cards produced was being bought by Avid). The operation was finalized in 1995.
Along with Pro Tools III, Digidesign launched the 888 interface, with eight channels of analog and digital I/O, and the cheaper 882 interface. The Session 8 system included a control surface with eight faders. A series of TDM plug-ins were bundled with the software, including dynamics processing, EQ, delay, modulation, and Reverberation.
In 1996, following Apple's decision to drop NuBus in favor of Conventional PCI, Digidesign added PCI support with Pro Tools 3.21. The PCI version of the Disk I/O card incorporated a high-speed SCSI along with DSP chips, while the upgraded DSP Farm PCI card included four Motorola 56002 chips running at 66 MHz.
This change of architecture allowed the convergence of Macintosh computers with Intel-based PCs, for which PCI had become the standard internal communication bus. With the PCI version of Digidesign's Audiomedia card in 1997 (Audiomedia III), Sound Tools and Pro Tools could be run on Windows platforms for the first time.
64 tracks with dual d24 support were introduced with Pro Tools 4.1.1 in 1998, while the updated Pro Tools | 24 MIX system provided three times more DSP power with the MIX Core DSP cards. MIXplus systems combined a MIX Core with a MIX Farm, obtaining a performance increase of 700% compared to a Pro Tools | 24 system.
Pro Tools 5 saw two substantial software developments: extended MIDI functionality and integration in 1999 (an editable piano-roll view in the editor; MIDI automation, quantize and transpose) and the introduction of surround sound mixing and multichannel plug-ins—up to the 7.1 format—with Pro Tools TDM 5.1 in 2001.
The migration from traditional, tape-based analog studio technology to the Pro Tools platform took place within the industry: Ricky Martin's "Livin' la Vida Loca" (1999) was the first Billboard Hot 100 number-one single to be recorded, edited, and mixed entirely within the Pro Tools environment, allowing a more meticulous and effortless editing workflow (especially on vocals).
While consolidating its presence in professional studios, Digidesign began to target the mid-range consumer market in 1999 by introducing the Digi001 bundle, consisting of a rack-mount audio interface with eight inputs and outputs with 24-bit, 44.1/48 kHz capability and MIDI connections. The package was distributed with Pro Tools LE, a specific version of the software without DSP support, limited to 24 mixing tracks.
Both HD Core and Process cards mounted nine Motorola 56361 chips running at 100 MHz, each providing 25% more processing power than the Motorola 56301 chips mounted on MIX cards; this translated to about twice the power for a single card. A system could combine one HD Core card with up to two HD Process cards, supporting playback for 96/48/12 tracks at 48/96/192 kHz sample rates (with a single HD Core card installed) and 128/64/24 tracks at 48/96/192 kHz sample rates (with one or two HD Process cards).
When Apple changed the expansion slot architecture of the Mac G5 to PCI Express, Digidesign launched a line of PCIe DSP cards that both adopted the new card slot format and slightly changed the combination of chips. HD Process cards were replaced with HD Accel, each mounting nine Motorola 56321 chips running at 200 MHz and each providing twice the power than an HD Process card; track count for systems mounting an HD Accel was extended to 192/96/36 tracks at 48/96/192 kHz sample rates. The use of PCI Express connection reduced round-trip delay time, while DSP audio processing allowed the use of smaller hardware buffer sizes during recording, assuring stable performance with extremely low latency.
Pro Tools, offering a solid and reliable alternative to analog recording and mixing, eventually became a standard in professional studios throughout the decade, while editing features such as Beat Detective (introduced with Pro Tools 5.1 in 2001) and Elastic Audio (introduced with Pro Tools 7.4 in 2007) redefined the workflow adopted in contemporary music production.
Other software milestones were background tasks processing (such as fade rendering, file conversion or relinking), real-time insertion of TDM plug-ins during playback, and a browser/database environment introduced with Pro Tools 6 in 2003; Automatic plug-in Delay Compensation (ADC), introduced with Pro Tools 6.4 in 2004 and only available with TDM systems with HD Accel; a new implementation of RTAS with multi-threading support and improved performance, Region groups, Instrument tracks, and real-time MIDI processing, introduced with Pro Tools 7 in 2006; VCA and volume trim, introduced with Pro Tools 7.2 in 2006; support for ten track inserts, MIDI Editor, and MIDI Score, introduced with Pro Tools 8 in 2009.
Pro Tools | MIX hardware support was dropped with version 6.4.1.
Pro Tools LE shared the same interface of Pro Tools HD but had a smaller track count (24 tracks with Pro Tools 5, extended to 32 tracks with Pro Tools 6 and 48 tracks with Pro Tools 8) and supported a maximum sample rate of 96 kHz (depending on the interface used). Some advanced software features, such as Automatic Delay Compensation, surround mixing, multi-track Beat Detective, OMF/AAF support, and Timecode, were omitted. Some of them, as well as support for 48 tracks/96 voices (extended to 64 tracks/128 voices with Pro Tools 8) and additional plug-ins, were made available through an expansion package called "Music Production Toolkit". The "Complete Production Toolkit", introduced with Pro Tools 8, added support for surround mixing and 128 tracks (while the system was still limited to 128 voices).
With the acquisition of M-Audio in 2004–2005, Digidesign released a specific variant of Pro Tools, called , which was equivalent to Pro Tools LE and could be run with M-Audio interfaces.
The Pro Tools LE/ line was discontinued with the release of Pro Tools 9.
When operating on a machine containing one or more HD Core, Accel, or Native cards, the software ran as Pro Tools HD with the complete HD feature set. In all other cases, it ran as Pro Tools 9 standard, with a smaller track count and some advanced features turned off.
| List of AIR Virtual Instruments | { class="wikitable" ! colspan="2" | AIR Creative Collection |
| Structure Free | sampler with basic library | |
| Boom | electronic drum machine | |
| Vacuum | virtual subtractive-style synthesizer | |
| Mini Grand | sampled acoustic piano | |
| DB33 | sampled Hammond organ | |
| Xpand!2 | synthesis and sample-based library |
| Structure | sampler with full library |
| Strike | virtual drummer |
| Hybrid | virtual subtractive synthesizer |
| Velvet | sampled classic electric pianos |
| Transfuser | real-time loop manipulation tool |
A second line of PCIe cards, called HD Native, provided low latency with a single FPGA chip but did not mount DSP (audio processing relied on the host system's CPU). Round trip latency at 96 kHz was 0.7 ms for HDX and 1.7 ms for HD Native (with a 64-sample buffer).
To maintain performance consistency, HDX products were specified with a fixed maximum number of voices (each voice representing a monophonic channel). Each HDX card enabled 256 simultaneous voices at 44.1/48 kHz; voice count halved when the sample rate doubled (128 voices at 88.2/96 kHz, 64 voices at 176.4/192 kHz). Up to three HDX cards could be installed on a single system for a maximum of 768/384/192 total voices and for increased processing power. On Native systems, voice count was limited to 96/48/24 voices with the standard version of Pro Tools and 256/128/64 voices with Pro Tools HD software.
With Pro Tools 10, Avid deployed a new plug-in format for both Native and HDX systems called AAX (an acronym for Avid Audio eXtension). AAX Native replaced RTAS plug-ins and AAX DSP, a specific format running on HDX systems, replaced TDM plug-ins. AAX was developed to provide the future implementation of 64-bit plug-ins, although 32-bit versions of AAX were still used in Pro Tools 10. TDM support was dropped with HDX, while Pro Tools 10 would be the final release for 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).
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. A free starter edition providing the essential features of Pro Tools, called "First", was launched in 2015 and discontinued in December 2021 for being "unviable to continue on a technical level".
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). 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.
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.
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).
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 arrangement changes.
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.
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). 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.
Analogous audio clips are identified by overlapping Linear 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.
Before 2022, two different perpetual licenses could be purchased: a standard edition for US$599 (informally called "Vanilla"), which provided all the key features for audio mixing and post-production, and a complete edition for US$2599 (officially called "Ultimate" and known as "HD" between 2002 and 2018), which unlocked functionality for advanced workflows and a higher track count.
Control 24 (2001) added 5.1 monitoring support and included 16 class A preamps designed by Focusrite. Icon D-Control (2004) incorporated an HD Accel system and was developed for larger TV and film productions in mind. Command|8 (2004) and D-Command (2005) were the smaller counterparts of Control 24 and D-Control, connected with the host computer via USB; Venue (2005) was a similar system specifically designed for live sound applications.
C|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.
In 2010 Avid acquired Euphonix, 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.
| Sound Designer II | Sound Accelerator Audiomedia I | |
| ProEdit ProDeck | ||
| Audiomedia II | ||
| DSP Farm | ||
| Pro Tools 3.21 | 888 I/O, 882 I/O DSP Farm | |
| Pro Tools 4.1 | d24 Pro Tools | 24 Pro Tools | 24 MIX | |
| Pro Tools 4.3 | MIX Card MIX Farm | |
| ADAT Bridge I/O | 20-bit digital interface with 16 ADAT Lightpipe input channels | |
| ProControl | first dedicated control surface for Pro Tools using Ethernet connection with microphone and line inputs | |
| Pro Tools | HD | touch-sensitive control surface equipped with 24 Focusrite preamps | |
| Pro Tools 5.1 | surround mixing, Beat Detective (TDM) | |
| Pro Tools 5.3.1 | 192 I/O, 96 I/O SYNC, MIDI, PRE | |
| HD Core HD Process | ||
| Mbox (LE) | low-cost USB-powered audio interface with 2 analog inputs, 1 mic preamp, S/PDIF digital I/O, bundled with Pro Tools LE software | |
| Digi 002 (LE) | mid-level FireWire audio interface with 8 analog inputs, 24-bit/96 kHz converters, touch-sensitive control surface, running Pro Tools LE 5.3.2 on Windows XP and Mac OS 9 | |
| Pro Tools 6.1 | support for Windows XP and ReWire, support for AAF | |
| Digi 002 Rack (LE) | mid-level FireWire audio interface with up to 18 I/O channels, 4 mic preamps, 24-bit/96 kHz AD/DA, support for 32 tracks with Pro Tools LE software | |
| HD Accel (HD) | DSP cards expansion equipped with 9 Motorola 56321 chips (200 MHz clock speed) twice the power as the HD Process cards extends track count to 192/96/36 tracks at 48/96/192 kHz sample rates (combined with one HD core card) | |
| Pro Tools 6.9 | 160 auxiliary tracks, 128 busses, Surround Panner support, selectable PFL/AFL solo paths (HD) selectable solo mode (Latch or Exclusive or), new keyboard shortcuts, I/O setup improvements | |
| ICON D-Control ICON D-Command | modular control surface line with 16–32 ( D-Control) or 8–24 ( D-Command) touch-sensitive faders and HD3 Accel DSP system | |
| Pro Tools 7 | HD Accel PCIe (HD) | multi-threading RTAS engine improves performance on multi-core systems, support for 10 sends per track, Instrument tracks, Region Groups, region looping, real-time MIDI processing, new session format with Mac/PC interoperability; 160 I/O at 96 kHz (HD) |
| VENUE | new line of modular digital mixing consoles with DSP and integrated playback and recording with Pro Tools | |
| Mbox 2 (LE) | second generation of the Mbox USB audio interface | |
| Pro Tools 7.2 | digital VCA groups, enhanced automation, enhanced track grouping system, extended support for contextual menus, Dubber and Field Recorder enhancements; support for multiple Video tracks (HD) | |
| Pro Tools 7.3 | Dynamic Transport, Windows Configurations, Key Signature timeline ruler, MIDI selection enhancements, fade editing enhancements, continuously-resizable tracks, mixer configurations changes possible without stopping playback, mouse scroll wheel and right-click enhancements, Memory Location and Digibase enhancements, Signal Tools and Time Shift plug-ins added, MIDI data can be exchanged with Sibelius scoring software | |
| Mbox 2 Pro (LE) Mbox 2 Mini (LE) | new formats/variants of Mbox 2 | |
| Digi 003 (LE) Digi 003 Rack (LE) | ||
| Mbox 2 Micro (LE) | portable USB interface with mini-jack stereo output and bundled with Pro Tools LE; support limited to 44.1/48 kHz sample rates | |
| Digi 003 Rack + (LE) | ||
| Mbox (LE) Mbox Pro (LE) Mbox Mini (LE) | third generation, first full release by Avid | |
| Pro Tools 9 | "standard" version replaces LE and lines, gets most of the HD-only software features, and can be run on native systems with ASIO or Core Audio driver protocols full HD features can be purchased with Complete Production Toolkit 2 added 7.0/7.1 surround support (HD) | |
| HD I/O, HD OMNI, HD MADI, SYNC HD | HD Series Interfaces introduced (replaces the previous "blue" HD series) | |
| HD Native | PCI card or Thunderbolt interface, enables to run HD software on up to two HD (or HD-compatible) interfaces with low-latency performance and without DSP | |
| Pro Tools 10 | HDX | |
| Pro Tools 12 | available as monthly or yearly subscription; metadata tagging, updated I/O setup | |
| Pro Tools 12.1 | increased track count, AFL/PFL solo modes, copy to sends, native HEAT support (HD) | |
| Pro Tools 12.2 | VCAs, Disk Caching, advanced metering options unlocked to standard version | |
| Pro Tools 12.3 | Commit, fade presets, batch fades, clip graphic overlay | |
| Pro Tools 12.4 | Track Freeze, fade workflows | |
| Pro Tools 12.6 | Clip Effects, Layered Editing, playlist improvements | |
| Pro Tools 12.7 | project revision history, Workspace improvements software support for Pro Tools | HDX | |
| Pro Tools 12.8.2 | Ambisonics Track support, Dolby Atmos enhancements, improved MIDI editing and recording features, Batch renaming features | |
| Pro Tools 2018.4 | Pro Tools | First bug fixes and stability improvements | |
| Pro Tools 2018.7 | real-time search in track inserts and I/O (busses and sends), multiple selection within I/O and interface menus, playlist navigation shortcuts added, Relative Grid mode extended to cut, copy, paste, and merge, retrospective MIDI record enhancements, Low Latency Monitoring enhancements | |
| Pro Tools 2018.12 | bug fixes and stability improvements | |
| Pro Tools 2019.6 | bug fixes | |
| Pro Tools 2019.10 | support for up to 130 outputs with Dolby Audio Bridge, multi-stem bounce in a single file (Ultimate) updated Avid Video Engine with 4K/Frame rate support and H.264 playback performance improvements, steep breakpoint smoothing option added, AAF importing improvements, SMPTE ID support for wave files, key commands added | |
| Pro Tools 2019.12 | bug fixes and stability improvements | |
| Pro Tools 2020.5 | optimizations for session storage on cloud services | |
| Pro Tools 2020.9 | support for Ableton Link for timeline and transport synchronization over LAN support for SDII conversion to BWF WAV on import (macOS only), support for BWF RF64 audio import and playback; Cloud Collaboration improvements | |
| Pro Tools 2020.11 | Pro Tools | 24 | Dark Theme, Space Clips; integration of Melodyne Essential software, audio to MIDI conversion, QuickTime MOV import/export functionality 888|24 512 Master faders, support for Dolby Atmos ADM BWF export (Ultimate) performance improvements of offline bounces and playback with low buffer sizes |
| Pro Tools 2020.12 | support for Audio to MIDI drag and drop from Workspace/Finder/File Explorer; Dolby Atmos ADM BWF export | |
| Pro Tools 2021.6 | 2048 voices and 2048 audio tracks at all sample rates; Hybrid Engine support on HDX systems (Ultimate) 256 tracks at all sample rates (Standard); 64 I/O channels at all sample rates full UI customization, interchangeable track width; full support of plug-in drag between tracks of different widths support for delay compensation on side chains on non-HDX systems support of HEVC, AAC, ALAC and greater-than-stereo track widths for QuickTime video import/export Playback Engine performance and stability improvements (Intel-based Macs only): Intel Turbo Boost support, low buffer sizes optimizations, limit number of real-time threads Sync X and Sync HD improvements Apple silicon support for Pro Tools software | |
| Pro Tools 2021.7 | bug fixes | |
| Pro Tools 2021.10 | 882|20 Apple Silicon support for HDX, HD Native and Avid Video Engine | |
| Pro Tools 2021.12 | macOS Monterey support; bug fixes |
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