Editing Pro Tools

{{Short description|Digital audio workstation}}
{{Other uses}}
{{Use American English|date = January 2020}}
{{Use mdy dates|date = April 2020}}
{{Infobox software
| name = Pro Tools
| logo = PT2019.svg
| screenshot = 
| caption = Pro Tools 2020 Logo
| author = Evan Brooks<br/>Peter Gotcher
| developer = [[Avid Audio]] under [[Avid Technology]] (previously Digidesign)
| programming language = [[C (programming language)|C]], [[C++]], [[Assembly language|Assembly]]
| released = {{Start date and age|1989|01|20}}
| discontinued = No
| latest_release_version = Pro Tools 2024.6
| latest_release_date = {{start date and age|2024|6|20}}
| operating_system = [[macOS]], [[Microsoft Windows|Windows]]
| language = Chinese (Traditional and Simplified), English, French, German, Japanese, Korean, Spanish
| language count = 8
| genre = [[Digital audio workstation]]
| license = [[Proprietary software|Proprietary]] ([[software-as-a-service]])
| website = {{URL|https://www.avid.com/pro-tools}}
}}

'''Pro Tools''' is a [[digital audio workstation]] (DAW) developed and released by [[Avid Technology]] (formerly [[Avid Audio|Digidesign]]){{sfn|Collins|2002|p=9}} for [[Microsoft Windows]] and [[OS X|macOS]].<ref>{{Cite web|url=http://avid.force.com/pkb/articles/en_US/Compatibility/Pro-Tools-Operating-System-Compatibility-Chart|title=Pro Tools Operating System Compatibility Chart|website=avid.force.com|access-date=2019-12-17}}</ref> It is used for music creation and production, sound for picture ([[sound design]], audio [[post-production]] and [[Audio mixing#Film and television|mixing]])<ref>{{Cite web|url=https://www.avid.com/pro-tools-ultimate/features|title=Pro Tools {{!}} Ultimate - Audio Editing Software - Features|date=2019-07-25|website=[[Avid Technology|Avid]]|url-status=live|archive-url=https://web.archive.org/web/20190725160709/https://www.avid.com/pro-tools-ultimate/features|archive-date=2019-07-25|access-date=2019-12-17}}</ref> and, more generally, [[sound recording]], editing, and [[Mastering (audio)|mastering]] processes.

Pro Tools operates both as standalone [[software]] and in conjunction with a range of external [[analog-to-digital converter]]s and [[PCIe|PCIe cards]] with on-board [[digital signal processor]]s (DSP). The DSP is used to provide additional processing power to the host computer for processing real-time [[effects unit|effects]], such as [[reverb]], [[Equalization (audio)|equalization]], and [[compression (audio)|compression]]<ref name=":15">{{Cite web|url=https://www.soundonsound.com/reviews/avid-hdx|title=Avid HDX|last=Wherry|first=Mark|date=April 2012|website=[[Sound on Sound]]|language=en-gb|access-date=2018-02-05}}</ref> and to obtain lower [[Latency (audio)|latency]] audio performance.<ref name=":16">{{Cite web|url=https://www.soundonsound.com/techniques/working-late|title=Working Late|last=Thornton|first=Mike|date=February 2015|website=[[Sound on Sound]]|access-date=2019-12-18}}</ref> 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 editing system|non-linear]]{{sfn|Avid|2019|p=7|loc=2. Pro Tools Concepts}} and [[non-destructive editing]] (most of audio handling is done without overwriting the source files), track compositing with multiple playlists,<ref>{{Cite web|url=https://www.soundonsound.com/techniques/track-comping|title=Track Comping|last=Thornton|first=Mike|date=April 2009|website=[[Sound on Sound]]|access-date=2019-12-17}}</ref> [[Audio time stretching and pitch scaling|time compression and expansion]], [[pitch shift]]ing, and faster-than-real-time mixdown.

Audio, [[Musical Instrument Digital Interface|MIDI]], and video tracks are graphically represented on a timeline. [[Audio signal processing|Audio effects]], [[Software synthesizer|virtual instruments]], and hardware emulators—such as [[Microphone preamplifier|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 [[Floating-point arithmetic|float]] audio [[Audio bit depth|bit depths]] at [[sample rate]]s up to 192&nbsp;kHz are supported. Pro Tools supports mixed bit depths and audio formats in a session: [[Broadcast Wave Format|BWF]]/[[WAV]] (including WAVE Extensible, RF64 and BW64) and [[Audio Interchange File Format|AIFF]]. It imports and exports MOV video files{{sfn|Avid|2020|p=1210|loc=53. Mixdown|}} and ADM BWF files (audio files with [[Dolby Atmos]] metadata);{{sfn|Avid|2020|p=1280–1281|loc=57. Mixing to Dolby Atmos|}} it also imports [[Material Exchange Format|MXF]], ACID and REX files and the [[Lossy audio compression|lossy]] formats [[mp3|MP3]], [[Advanced Audio Coding|AAC]], [[MPEG-4 Part 14|M4A]], and audio from video files ([[QuickTime File Format|MOV]], [[MPEG-4 Part 14|MP4]], [[M4V]]).{{sfn|Avid|2020|p=412–413|loc=21. Importing and Exporting Session Data|}} The legacy SDII format was dropped with Pro Tools 10,<ref>{{Cite web|title=Sound Designer II audio file support with Pro Tools 10.3.6 and higher|url=http://avid.force.com/pkb/articles/en_US/Troubleshooting/SD2-support-with-PT-10-3-6-and-higher?re_2|access-date=2019-12-17|website=avid.force.com}}</ref> although SDII conversion is still possible on macOS.{{sfn|Avid|2020|p=412–413|loc=21. Importing and Exporting Session Data|}}

Pro Tools has incorporated video editing capabilities, so users can import and manipulate high-definition video file formats such as XDCAM, MJPG-A, PhotoJPG, DV25, [[QuickTime]], and more. It features [[time code]], tempo maps, elastic audio, and [[Track automation|automation]]; supports mixing in [[surround sound]], [[Dolby Atmos]] and [[Virtual reality|VR]] sound using [[Ambisonics]].<ref>{{Cite web|url=http://www.avidblogs.com/ambisonics-vr360-audio-pro-tools-hd/|title=Ambisonics and VR/360 Audio in Pro Tools {{!}} HD|last=Sherbourne|first=Simon|date=2017-10-18|website=Avid Blogs|language=en-US|access-date=2019-12-17}}</ref>

The Pro Tools [[Time-division multiplexing|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 [[Single-precision floating-point format|32-bit]] [[Floating-point arithmetic|floating-point]] resolution for plug-ins and [[Double-precision floating-point format|64-bit]] floating-point summing.<ref name=":15" /> The software and the audio engine were adapted to [[64-bit computing|64-bit architecture]] from version 11.<ref name=":19" />

In 2022, Avid switched Pro Tools from a perpetual license to a subscription model. New users have to choose between three new plans: Pro Tools 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.<ref>{{cite web |url=https://www.engadget.com/pro-tools-subscription-service-perpetual-license-160010247.html |title=Pro Tools is now only available as a subscription service |last=Holt |first=Kris |date=April 27, 2022 |website=Engadget |access-date=May 13, 2022}}</ref> Later in 2022, Avid launched a free version: Pro Tools Intro.<ref>{{cite web |url=https://www.avid.com/resource-center/introducing-pro-tools-intro |title=Introducing Pro Tools Intro |date=September 28, 2022 |website=Avid}}</ref>

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."<ref>{{cite web|title=TECnology Hall of Fame, 2004|url=http://legacy.tecawards.org/tec/04TECnologyHOFdetails.html|website=TECawards.org|date=2004|access-date=December 12, 2024}}</ref>

==History==
{{Timeline of release years
| title = Pro Tools milestones
| range1 = 1985-2099
| range1_color = #6E2A8D #421A54
| 1985  = '''Sound Designer'''
| 1987  = ''Sound Designer Universal (1.5)''
| 1989a  = '''Sound Tools'''
| 1989b  = ''Sound Designer II''
| 1991  = '''Pro Tools'''
| 1992  = '''Sound Tools II'''
| 1993  = '''Pro Tools II'''
| 1994a = '''Pro Tools TDM'''
| 1994b = '''Pro Tools III'''
| 1996  = '''Pro Tools PCI'''
| 1997a = ''Pro Tools 4''
| 1997b = '''<nowiki>Pro Tools | 24</nowiki>'''
| 1998  = '''<nowiki>Pro Tools | 24 MIX</nowiki>'''
| 1999a = ''Pro Tools 5''
| 1999b = Pro Tools LE
| 2001  = Pro Tools Free
| 2002  = '''<nowiki>Pro Tools | HD</nowiki>'''
| 2003  = ''Pro Tools 6''
| 2005  = ''Pro Tools 7''
| 2008  = ''Pro Tools 8''
| 2010  = ''Pro Tools 9''
| 2011a = '''<nowiki>Pro Tools | HDX</nowiki>'''
| 2011b = ''Pro Tools 10''
| 2013  = ''Pro Tools 11''
| 2015a = ''Pro Tools 12''
| 2015b = <nowiki>Pro Tools | First</nowiki>
| 2018  = ''Pro Tools 2018+''
}}

=== The beginnings: Digidrums (1983–1985) ===
Pro Tools was developed by [[University of California, Berkeley|UC Berkeley]] graduates Evan Brooks, who majored in [[electrical engineering]] and [[computer science]], and Peter Gotcher.<ref>{{Cite web|url=http://www.eqmag.com/article/the-software-chronicles/Mar-06/19100|title=The Software Chronicles|last=Payne|first=John|date=2008-10-04|website=EQ Mag|url-status=dead|archive-url=https://web.archive.org/web/20081004165207/http://www.eqmag.com/article/the-software-chronicles/Mar-06/19100|archive-date=2008-10-04|access-date=2019-12-13}}</ref>

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.<ref name=":6">{{Cite web|url=https://www.musicradar.com/tuition/tech/a-brief-history-of-pro-tools-452963|title=A brief history of Pro Tools|date=2011-05-30|website=[[MusicRadar]]|language=en-gb|access-date=2019-12-13}}</ref>

They started selling the upgrade chips one year later under their new Digidrums label.{{sfn|Battino|Richards|p=38–39|2005}} 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.<ref name=":28">{{Cite web|url=http://www.soundonsound.com/sos/1995_articles/mar95/digidesign.html|title=Digidesign Past & Present|date=March 1995|website=[[Sound on Sound]]|url-status=dead|archive-url=https://web.archive.org/web/20150606114258/http://www.soundonsound.com/sos/1995_articles/mar95/digidesign.html|archive-date=2015-06-06|access-date=2020-01-13}}</ref>

=== Digidesign Sound Designer (1985–1989) ===
When Apple released its first [[Macintosh 128K|Macintosh]] computer in 1984, the pair thought to design a more functional and flexible solution which could take advantage of a graphical interface.{{snf|Milner|2009|p=245}} In collaboration with [[E-mu Systems|E-Mu]], they developed a Mac-based visual sample editing system for the [[Emulator II]] keyboard, called Sound Designer, released under the [[Digidesign]] brand<ref>{{Cite journal |last=Devereux |first=Brian |date=May 1986 |title=Sound Designer 2000 Software |url=http://www.muzines.co.uk/articles/sound-designer-2000-software/1682 |journal=Electronic & Music Maker |issue=May 1986 |pages=24 |via=Muzines}}</ref> and inspired by the interface of the [[Fairlight CMI]].<ref name=":7">{{Cite web|url=http://www.emulatorarchive.com/SampleDesign/SDSoundDesigner/sdsounddesigner.html|title=Sample Editors: Sound Designer|date=2009-02-25|website=Emulator Archive|url-status=dead|archive-url=https://web.archive.org/web/20090225214242/http://www.emulatorarchive.com/SampleDesign/SDSoundDesigner/sdsounddesigner.html|archive-date=2009-02-25|access-date=2019-12-13}}</ref> This system, the first ancestor of Pro Tools, was released in 1985 at the price of US$995.<ref name=":6" />

Brooks and Gotcher rapidly ported Sound Designer to many other sampling keyboards, such as [[E-mu Emax]], [[Akai S900]], [[Sequential Circuits Prophet 2000|Sequential Prophet 2000]], [[Korg DSS-1]], and [[Ensoniq Mirage]].<ref name=":7" /> Thanks to the universal file specification subsequently developed by Brooks with version 1.5,<ref name=":7" /> Sound Designer files could be transferred via [[MIDI]] between sampling keyboards of different manufacturers.<ref>{{Cite journal |last=Mellor |first=David |date=October 1988 |title=Sound Designer Universal |url=http://www.muzines.co.uk/articles/sound-designer-universal/3988 |journal=[[Sound on Sound]] |volume=36 |pages=24–26 |via=Muzines}}</ref> This universal file specification, along with the printed source code to a 68000 assembly language interrupt-driven MIDI driver, was distributed through [[Mac (computer)|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]].<ref name=":7" />

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 [[Motorola 56000|56K series]] of [[digital signal processor]]s, 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.{{sfn|Milner|2009|p=245}}

=== Digidesign Sound Tools and Sound Designer II software (1989–1990) ===
The combination of the hardware and the software was called Sound Tools. Advertised as the "first tapeless studio",{{sfn|Milner|2009|p=245}} it was presented on January 20, 1989, at the [[NAMM Show|NAMM International Music & Sound Expo]]. The system relied on a [[NuBus]] card called Sound Accelerator, equipped with one [[Motorola 56000|Motorola 56001]] processor. The card provided 16-bit playback and 44.1/48&nbsp;kHz recording through a two-channel [[Analog-to-digital converter|A/D converter]] (AD In), while the DSP handled signal processing, which included a ten-band [[graphic equalizer]], a [[parametric equalizer]], [[Audio time stretching and pitch scaling|time stretching]] with pitch preservation, fade-in/fade-out envelopes, and crossfades ("merging") between two sound files.{{sfn|Manning|2013|p=387}}<ref>{{Cite journal |last=Lehrman |first=Paul D. |date=August 1989 |title=Digidesign Sound Tools |url=http://www.muzines.co.uk/articles/digidesign-sound-tools/5626 |journal=[[Sound on Sound]] |volume=46 |pages=60–63 |via=Muzines}}</ref>

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|Mac SE]] or [[Macintosh II|Mac II]]; digital audio acquisition from [[Digital Audio Tape|DAT]] was also possible.<ref>{{Cite journal |last=Mellor |first=David |date=November 1991 |title=Hands on: Sound Tools |url=http://www.muzines.co.uk/articles/hands-on/7527 |journal=[[Sound on Sound]] |volume=73 |pages=70–74 |via=Muzines}}</ref> 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.{{sfn|Collins|2002|p=9}}

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.<ref>{{cite web|url=http://www.namm.org/library/oral-history/evan-brooks|title=NAMM Library: Oral History|last=Brooks|first=Evan|date=2007-01-20|work=NAMM.org|access-date=20 June 2015}}</ref> However, the rapidly evolving computer technology allowed developments towards a multi-track sequencer.

=== Deck, Pro Tools, Sound Tools II and Pro Tools II (1990–1994) ===
The core engine and much of the user interface of the first iteration of Pro Tools was based on Deck. The software, published in 1990, was the first multi-track digital recorder based on a personal computer. It was developed by OSC, a small San Francisco company founded the same year, in conjunction with Digidesign and ran on Digidesign's hardware.<ref name="wired212">{{cite magazine|url=https://www.wired.com/1994/12/osc/|title=Consume the Minimum, Produce the Maximum|last=Goldberg|first=Michael|date=December 1994|magazine=[[Wired (magazine)|Wired]]|access-date=2020-01-07}}</ref> Deck could run four audio tracks with automation; MIDI sequencing was possible during playback and record, and one effect combination could be assigned to each audio track (2-band parametric equalizer, 1-band EQ with [[Delay (audio effect)|delay]], 1-band EQ with [[Chorus effect#Electronic effect|chorus]], delay with chorus).<ref>{{Cite journal |last=Lehrman |first=Paul D. |date=November 1990 |title=Digidesign Deck |url=http://www.muzines.co.uk/articles/digidesign-deck/7318 |journal=[[Sound on Sound]] |volume=61 |pages=60–64 |via=Muzines}}</ref>

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;<ref>{{cite web |last=Gotcher |first=Peter |date=2004-02-01 |title=Pro Tools user since the beginning |url=http://duc.avid.com/showpost.php?p=554780&postcount=29 |access-date=2022-08-03 |website=Avid Pro Audio Community}}</ref> Sound Designer II was still supplied for two-channel editing.{{sfn|Collins|2002|p=10}} Pro Tools relied on Digidesign's Audiomedia card, mounting one Motorola 56001 processor{{sfn|Manning|2013|p=389}} with a [[clock rate]] of 22.58&nbsp;MHz<ref>{{Cite web|url=http://duc.avid.com/showthread.php?t=102247|title=Audiomedia I in/out specification - Avid Pro Audio Community|website=duc.avid.com|access-date=2020-01-12}}</ref> and offering two analog and two digital channels of [[Input/output|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.{{sfn|Collins|2002|p=10}} The complete system was selling for US$6,000.{{sfn|Millner|2009|p=216}}

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,{{sfn|Collins|2002|p=10}} and Audiomedia II, with improved digital converters and one Motorola 56001 processor running at 33.86&nbsp;MHz.<ref>{{Cite web|url=http://archive.digidesign.com/support/propix/AM2.html|title=Audiomedia II|website=archive.digidesign.com|access-date=2019-12-13}}</ref>

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.<ref>{{Cite journal|last=Waugh|first=Ian|date=November 1993|title=Digidesign Session 8|url=http://www.muzines.co.uk/articles/digidesign-session-8/7647|journal=Music Technology|volume=85|pages=56–58|via=www.muzines.co.uk}}</ref><ref name="wired212" />

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.<ref name=":28" /> 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.
<ref name=":6" /><ref>{{cite web |last1=Curigliano |first1=Vin |title=Episode 19 : DAW Evolution III : Pro Tools – Past, Present, Future ! |url=https://dawbench.libsyn.com/episode-19-daw-evolution-vi-pro-tools-past-present-future |website=DAW Bench Radio Show |access-date=18 August 2022 |at=1:13:05}}</ref> Selling more than 8,000 systems worldwide, Pro Tools II became the best-selling digital audio workstation.<ref name=":28" />

=== Pro Tools II TDM: 16 tracks and real-time plug-ins (1994) ===
In 1994, Pro Tools 2.5 implemented Digidesign's newly developed [[time-division multiplexing]] technology, which allowed routing of multiple digital audio streams between DSP cards. With TDM, up to four NuBus cards could be linked, obtaining a 16-track system, while multiple DSP-based plug-ins could be run simultaneously and in real-time.<ref name=":25" /> The wider bandwidth required to run the larger number of tracks was achieved with a [[SCSI]] expansion card developed by Grey Matter Response, called System Accelerator.{{sfn|Collins|2002|p=10}}

In the same year, Digidesign announced that it merged into the American multimedia company [[Avid Technology|Avid]],<ref>{{Cite news|url=https://www.nytimes.com/1994/10/26/business/company-news-avid-technology-plans-to-acquire-digidesign.html|title=Company News; Avid Technology Plans to Acquire Digidesign|last=The Associated Press|date=1994-10-26|work=[[The New York Times]]|access-date=2019-12-18|language=en-US|issn=0362-4331}}</ref> 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.<ref name=":25" />

=== Pro Tools III: 48 tracks, DSP Farm cards and switch to PCI cards (1995–1997) ===
With a redesigned Disk I/O card, Pro Tools III was able to provide 16 tracks with a single NuBus card;{{sfn|Collins|2002|p=11}} the system could be expanded using TDM to up to three Disk I/O cards, achieving 48 tracks.<ref name=":25" /> DSP Farm cards were introduced to increase the processing power needed for a more extensive real-time audio processing; each card was equipped with three [[Motorola 56000|Motorola 56001]] chips running at 40&nbsp;MHz.<ref name="dspfarmnubus" /> Multiple DSP cards could be added for additional processing power; each card could handle the playback of 16 tracks.{{sfn|Manning|2013|p=389}} A dedicated SCSI card was still required to provide the required bandwidth to support multiple-card systems.{{sfn|Collins|2002|p=11}}

Along with Pro Tools III, Digidesign launched the 888 interface, with eight channels of analog and digital I/O, and the cheaper 882 interface.{{sfn|Collins|2002|p=11}} The Session 8 system included a control surface with eight faders.<ref>{{Cite web|url=https://rapmag.com/a/281-94/mar94/1115-test-drive-the-digidesign-session-8|title=Test Drive: The Digidesign Session 8 – Radio and Production|last=Boss|first=Todd D.|date=March 1994|website=rapmag.com|access-date=2019-12-13}}</ref> A series of TDM plug-ins were bundled with the software, including [[Dynamic range compression|dynamics processing]], EQ, delay, modulation, and [[Reverberation|reverb]].<ref name=":25" />

In 1996, following Apple's decision to drop NuBus in favor of [[Conventional PCI|PCI bus]], 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,{{sfn|Collins|2002|p=11}} while the upgraded DSP Farm PCI card included four Motorola 56002 chips running at 66&nbsp;MHz.<ref name=":26" />

This change of architecture allowed the convergence of Macintosh computers with [[Intel]]-based PCs, for which PCI had become the standard internal communication bus.{{sfn|Manning|2013|p=389}} With the PCI version of Digidesign's Audiomedia card in 1997 (Audiomedia III),<ref>{{Cite web|url=http://archive.digidesign.com/support/propix/AM3.html|title=Audiomedia III|website=archive.digidesign.com|access-date=2019-12-13}}</ref> Sound Tools and Pro Tools could be run on Windows platforms for the first time.{{sfn|Manning|2013|p=389}}

=== 24-bit audio and surround mixing: Pro Tools | 24 and Pro Tools | 24 MIX (1997–2002) ===
With the release of Pro Tools | 24 in 1997, Digidesign introduced a new [[24-bit audio|24-bit]] interface (the 888|24) and a new PCI card (the d24). The d24 relied on [[Motorola 56000|Motorola 56301]] processors, offering increased processing power and 24 tracks of 24-bit audio<ref name=":21" /> (later increased to 32 tracks with a DAE software update). A SCSI accelerator was required to keep up with the increased data [[Throughput (disk drive)|throughput]]. Digidesign dropped its proprietary SCSI controller in favor of commercially available ones.<ref name=":25">{{Cite web|url=https://www.pro-tools-expert.com/home-page/2018/2/22/the-history-of-pro-tools-1994-to-2000|title=The History of Pro Tools - 1994 to 2000|last=Thornton|first=Mike|date=2018-11-03|website=Production Expert|language=en-GB|access-date=2019-12-18}}</ref>

64 tracks with dual d24 support were introduced with Pro Tools 4.1.1 in 1998,<ref name=":2" /> 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.<ref name=":25" />

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)<ref name=":25" /> and the introduction of surround sound mixing and multichannel plug-ins—up to the [[7.1 surround sound|7.1 format]]—with Pro Tools TDM 5.1<ref name=":29">{{Cite web|url=https://www.pro-tools-expert.com/home-page/2018/2/26/the-history-of-pro-tools-2000-to-2007|title=The History of Pro Tools - 2000 to 2007 {{!}} Pro Tools|last=Thornton|first=Mike|date=2018-11-03|website=Production Expert|language=en-GB|access-date=2019-12-18}}</ref> in 2001.<ref name=":2" />

The migration from traditional, tape-based analog studio technology to the Pro Tools platform took place within the industry:{{sfn|Milner|2009|p=245}} [[Ricky Martin]]'s "[[Livin' la Vida Loca]]" (1999) was the first [[Billboard Hot 100|''Billboard'' Hot 100]] number-one single to be recorded, edited, and mixed entirely within the Pro Tools environment,<ref>{{cite web|url=http://mixonline.com/mag/audio_recordin_la_vida/|title=Recordin' "La Vida Loca": the making of a hard disk hit|last=Daley|first=Dan|date=November 1999|work=[[Mix (magazine)|Mix Magazine]]|url-status=dead|archive-url=https://web.archive.org/web/20110604161013/http://mixonline.com/mag/audio_recordin_la_vida/|archive-date=2011-06-04}}</ref> allowing a more meticulous and effortless editing workflow (especially on vocals).{{sfn|Milner|2009|p=216}}

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&nbsp;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.<ref name=":6" />

=== High-resolution audio and consolidation of digital recording and mixing: Pro Tools | HD (2002–2011) ===
Following the launch of [[MacOS#Launch of Mac OS X|Mac OS X]] operating system in 2001, Digidesign made a substantial redesign of Pro Tools hardware and software. Pro Tools | HD was launched in 2002, replacing the Pro Tools | 24 system and relying on a new range of DSP cards (HD Core and HD Process, replacing MIX Core and MIX Farm), new interfaces running at up to [[High-resolution audio|192 kHz]] or 96&nbsp;kHz sample rates (HD 192 and 96, replacing 888 and 882), along with an updated version of the software (Pro Tools 6) with new features and a redesigned GUI, developed for OS X and [[Windows XP]].<ref name=":10" /> Two HD interfaces could be linked together for increased I/O through a proprietary connection. The base system was selling for US$12,000, while the full system was selling for US$20,000.{{sfn|Milner|2009|p=245}}

Both HD Core and Process cards mounted nine [[Motorola 56000|Motorola 56361]] chips running at 100&nbsp;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&nbsp;kHz sample rates (with a single HD Core card installed) and 128/64/24 tracks at 48/96/192&nbsp;kHz sample rates (with one or two HD Process cards).<ref name=":1" />

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&nbsp;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&nbsp;kHz sample rates.<ref name=":27">{{Cite web|url=https://www.mixonline.com/recording/digidesign-hd-accel-pci-card-374027|title=Digidesign HD Accel PCI Card|date=2003-09-15|website=[[Mix (magazine)|Mix Magazine]]|language=en-GB|access-date=2020-01-07}}</ref> 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.<ref name=":16" />

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)<ref name=":29" /> and Elastic Audio (introduced with Pro Tools 7.4 in 2007)<ref name=":30">{{Cite web|url=https://www.soundonsound.com/reviews/digidesign-pro-tools-74|title=Digidesign Pro Tools 7.4|last=Thornton|first=Mike|date=January 2008|website=[[Sound on Sound]]|language=en-gb|access-date=2018-02-04}}</ref> redefined the workflow adopted in contemporary music production.<ref name=":6" />

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;<ref name=":10" /> Automatic plug-in Delay Compensation (ADC), introduced with Pro Tools 6.4 in 2004 and only available with TDM systems with HD Accel;<ref name=":11" /> a new implementation of RTAS with [[Multithreading (computer architecture)|multi-threading]] support and improved performance, Region groups, Instrument tracks, and real-time MIDI processing, introduced with Pro Tools 7 in 2006;<ref name=":12">{{Cite web|url=https://www.soundonsound.com/reviews/digidesign-pro-tools-v7|title=Digidesign Pro Tools 7|last=Wherry|first=Mark|date=January 2006|website=[[Sound on Sound]]|language=en-gb|access-date=2018-02-04}}</ref> VCA and volume trim, introduced with Pro Tools 7.2 in 2006;<ref name=":13" /> support for ten track inserts, MIDI Editor, and MIDI Score, introduced with Pro Tools 8 in 2009.<ref name=":14" />

Pro Tools | MIX hardware support was dropped with version 6.4.1.

==== Native systems: Pro Tools LE and Pro Tools {{Nowrap|M-Powered}} ====
Pro Tools LE, first introduced and distributed in 1999 with the Digi 001 interface,<ref name=":4">{{Cite web|url=http://www.soundonsound.com/sos/dec99/articles/digi001.htm|title=Digidesign Digi 001|date=December 1999|website=[[Sound on Sound]]|url-status=dead|archive-url=https://web.archive.org/web/20150609073618/http://www.soundonsound.com/sos/dec99/articles/digi001.htm|archive-date=2015-06-09|access-date=2018-02-06}}</ref> was a specific Pro Tools version in which the signal processing entirely relied on the host CPU. The software required a Digidesign interface to run, which acted as a copy-protection mechanism for the software. Mbox was the entry-level range of the available interface; Digi 001 and Digi 002/003, which also provided a control surface, were the upper range. The Eleven Rack also ran on Pro Tools LE, included in-box DSP processing via an FPGA chip, offloading guitar amp/speaker emulation, and guitar effects plug-in processing to the interface, allowing them to run without taxing the host system.

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<ref name=":10" /> and 48 tracks with Pro Tools 8)<ref name=":17">{{Cite web|url=https://www.soundonsound.com/reviews/digidesign-pro-tools-8-part-2|title=Digidesign Pro Tools 8: Part 2|last=Mark|first=Wherry|date=February 2009|website=[[Sound on Sound]]|access-date=2019-12-18}}</ref> and supported a maximum sample rate of 96&nbsp;kHz<ref name=":22" /> (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|SMPTE 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".<ref>{{Cite web|url=https://www.soundonsound.com/reviews/digidesign-hybrid-music-production-toolkit|title=Digidesign Hybrid & Music Production Toolkit|last=Inglis|first=Sam|date=June 2006|website=[[Sound on Sound]]|access-date=2019-12-18}}</ref> 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).<ref name=":17" />

With the acquisition of [[M-Audio]] in 2004–2005, Digidesign released a specific variant of Pro Tools, called {{Nowrap|M-Powered}}, which was equivalent to Pro Tools LE and could be run with M-Audio interfaces.<ref name=":18">{{Cite web|url=https://www.soundonsound.com/reviews/pro-tools-m-powered|title=Pro Tools M-Powered|last=Inglis|first=Sam|date=June 2005|website=[[Sound on Sound]]|language=en-gb|access-date=2018-02-05}}</ref>

The Pro Tools LE/{{Nowrap|M-Powered}} line was discontinued with the release of Pro Tools 9.

==== Hardware-independent native systems: Pro Tools 9 ====
Pro Tools 9, released in November 2010, dropped the requirement of proprietary hardware to run the software. Any audio device could be used through [[Core Audio]] on macOS or the [[Audio Stream Input/Output|ASIO]] driver on a Windows. Core Audio allowed device aggregation, enabling using of more than one interface simultaneously. Some Pro Tools HD software features, such as automatic plug-in delay compensation, OMF/AAF file import, Timecode ruler, and multi-track Beat Detective, were included in the standard version of Pro Tools 9.<ref name=":23">{{Cite web|last=Inglis|first=Sam|date=January 2011|title=Avid Pro Tools 9|url=https://www.soundonsound.com/reviews/avid-pro-tools-9|access-date=2018-02-04|website=[[Sound on Sound]]|language=en-gb}}</ref>

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.

====Advanced Instrument Research (AIR): built-in virtual instruments and plug-ins====
In response to Apple's decision to include [[Emagic]]'s complete line of virtual instruments in [[Logic Pro]] in 2004 and following [[Avid Technology|Avid]]'s acquisition of German virtual instruments developer Wizoo in 2005, Pro Tools 8 was supplied with its first built-in virtual instruments library, the AIR Creative Collection, as well as with some new plug-ins, to make it more appealing for music production.<ref name=":17" /> An expansion was also available, called AIR Complete Collection.
{| class="mw-collapsible mw-collapsed" style="vertical-align: top;"
|+ style="width: 270px; text-align: left;" | '''List of AIR Virtual Instruments'''
|
{| class="wikitable"
! colspan="2" |AIR Creative Collection
|-
|Structure Free
|[[Sampler (musical instrument)|sampler]] with basic library
|-
|Boom
|electronic drum machine
|-
|Vacuum
|virtual [[Subtractive synthesis|subtractive]]-style synthesizer
|-
|Mini Grand
|sampled acoustic piano
|-
|DB33
|sampled [[Hammond organ|Hammond B3 organ]]
|-
|Xpand!2
|synthesis and sample-based library
|}
| style="vertical-align: top;" |
{| class="wikitable"
! colspan="2" |AIR Complete Collection
|-
|Structure
|sampler with full library
|-
|Strike
|virtual drummer
|-
|Hybrid
|virtual [[Subtractive synthesis|subtractive synthesizer]]
|-
|Velvet
|sampled classic electric pianos
|-
|Transfuser
|real-time loop manipulation tool
|}
|}

===Pro Tools | HDX (2011–present)===
In October 2011, Avid introduced Pro Tools 10 and a new series of DSP [[PCI Express|PCIe cards]] named HDX. Each card mounted 18 DSP processors, manufactured by Texas Instruments, allowing an increased computational precision ([[Single-precision floating-point format|32-bit]] [[Floating-point arithmetic|floating-point]] resolution for audio processing and [[Double-precision floating-point format|64-bit]] floating-point summing, versus the previous 24-bit and 48-bit [[fixed-point arithmetic|fixed-point]] resolution of the TDM engine),<ref name=":15" /> thus improving dynamic range performance. Signal processing could be run on the embedded DSP, providing additional computational power and enabling near zero-latency for DSP-reliant plug-ins. Two [[Field-programmable gate array|FPGA]] chips handled track playback, monitoring, and internal routing, providing a lower round trip latency.

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).<ref name=":0" /> Round trip latency at 96&nbsp;kHz was 0.7 ms for HDX and 1.7 ms for HD Native (with a 64-sample buffer).<ref>{{Cite web|last=|first=|date=|title=Compare Pro Tools HDX vs Pro Tools HD Native|url=https://www.avid.com/products/pro-tools-hd-native/specifications|archive-url=|archive-date=|access-date=2021-01-31|website=www.avid.com}}</ref>

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&nbsp;kHz; voice count halved when the sample rate doubled (128 voices at 88.2/96&nbsp;kHz, 64 voices at 176.4/192&nbsp;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.<ref name=":15" />

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).<ref>{{Cite web|url=https://www.pro-tools-expert.com/home-page/2014/9/22/a-z-of-pro-tools-a-is-for-aax.html|title=A-Z of Pro Tools - A is for AAX|last=Hughes|first=Russ|date=2014-09-22|website=Production Expert|language=en-GB|access-date=2019-12-17}}</ref> 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,<ref>{{cite web|url=http://akarchive.digidesign.com/support/docs/50/DigiRack_Plug-Ins_Guide501.pdf|title=Pro Tools DigiRack Plug-Ins Guide: Version 5.0.1 for Macintosh and Windows|year=2000|publisher=Digidesign, Inc.|page=18|access-date=2013-10-23}}</ref> 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).<ref>{{Cite web|url=https://www.soundonsound.com/reviews/avid-pro-tools-10|title=Avid Pro Tools 10|last=Wherry|first=Mark|date=March 2012|website=[[Sound on Sound]]|access-date=2019-12-18}}</ref><ref name=":29" />

=== Switch to 64-bit architecture (2013) ===
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 do not 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.<ref name=":19" /> 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".<ref>{{Cite web|last=|date=2021-12-15|title=Pro Tools {{!}} First: Discontinued - Avid Pro Audio Community|url=https://duc.avid.com/showthread.php?t=418226|access-date=2022-01-04|website=duc.avid.com}}</ref>

==Features==
[[Image:protools9screen.png|thumb|The timeline of Pro Tools 9 showing audio and MIDI tracks, running on [[Microsoft Windows|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.{{Sfn|Avid|2019|p=187–190|loc=12. Pro Tools Main Windows}} Different window layouts, along with shown and hidden tracks and their width settings, can be stored and recalled from the Window configuration list.{{Sfn|Avid|2019|p=205–213|loc=12. Pro Tools Main Windows}}

=== Timeline ===
The timeline provides a graphical representation of all types of tracks: the audio [[Envelope (waves)|envelope]] or [[waveform]] (when zoomed in) for audio tracks, a [[Piano roll#In digital audio workstations|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 [[Variable-gain amplifier#Digital variable-gain amplifier|VCA]] master tracks.{{Sfn|Avid|2019|p=190|loc=12. Pro Tools Main Windows}} 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.{{Sfn|Avid|2019|p=691|loc=32. Playlists}} All the mixer parameters (such as track and sends volume, pan, and mute status) and plug-in parameters can be changed over time through [[Track automation|automation]].{{Sfn|Avid|2019|p=1125–1126|loc=50. Automation}} Any automation type can be shown and edited in multiple lanes for each track.{{Sfn|Avid|2019|p=1135–1138|loc=50. Automation}} Track-based volume automation can be converted to clip-based automation and vice versa;{{Sfn|Avid|2019|p=947|loc=43. Clip Gain and Clip Effects}} automation of any type can also be copied and pasted to any other automation type.{{Sfn|Avid|2019|p=1160|loc=50. Automation}}

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&nbsp;mm film format).{{Sfn|Avid|2019|p=837–840|loc=38. Time, Tempo, Meter, Key, and Chords}} 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.{{Sfn|Avid|2019|p=16|loc=2. Pro Tools Concepts}}

=== Editing ===
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).{{Sfn|Avid|2019|p=653–664|loc=30. Editing Clips and Selections}} [[Audio time stretching and pitch scaling|Time stretching]] (TCE), [[pitch shift]]ing, equalization, and dynamics processing can be applied to audio clips non-destructively and in real-time with Elastic Audio{{Sfn|Avid|2019|p=695|loc=44. Elastic Audio}} and Clip Effects;{{Sfn|Avid|2019|p=949–950|loc=43. Clip Gain and Clip Effects}} gain can be adjusted statically or dynamically on individual clips with Clip Gain;{{Sfn|Avid|2019|p=941|loc=43. Clip Gain and Clip Effects}} 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.{{Sfn|Avid|2019|p=929|loc=42. AudioSuite Processing}} 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.{{Sfn|Avid|2020|p=1011–1013|loc=46. Extract MIDI from Audio}} 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.{{Sfn|Avid|2019|p=787|loc=35. MIDI Editors}} MIDI tracks can also be shown in [[musical notation]] within a score editor.{{Sfn|Avid|2019|p=805|loc=36. 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.{{Sfn|Avid|2019|p=780|loc=34. MIDI Editing}}

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.{{Sfn|Avid|2019|p=1355–1357|loc=60. Working with Video in Pro Tools}}

=== Mixing ===
The virtual mixer shows controls and components of all tracks, including [[Insert (effects processing)|inserts]], [[Aux-send|sends]], input and output [[Audio bus|assignments]], automation read/write controls, [[Panning (audio)|panning]], [[Mixing console|solo/mute]] buttons, arm record buttons, the [[Fade (audio engineering)#Fader|volume fader]], the [[Peak programme meter|level meter]], and the track name. It also can show additional controls for the inserted [[Software synthesizer|virtual instrument]], mic preamp gain, HEAT settings, and the EQ curve of supported plug-ins.{{Sfn|Avid|2019|p=188|loc=12. Pro Tools Main Windows}} Each track inputs and outputs can have different channel depths: [[Monaural|mono]], [[Stereophonic sound|stereo]], [[Surround sound|multichannel]] (LCR, [[Dolby Stereo|LCRS]], [[Quadraphonic sound|Quad]], [[5.1 surround sound|5.0/5.1]], 6.0/6.1, [[7.1 surround sound|7.0/7.1]]); [[Dolby Atmos]] and [[Ambisonics]] formats are also available for mixing.{{Sfn|Avid|2019|p=1201–1203|loc=52. Pro Tools Setup for Surround}}

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.{{Sfn|Avid|2019|p=1057|loc=48. Basic Mixing}} Virtual instruments are loaded on Instrument tracks—a specific type of track that receives MIDI data in input and returns audio in output.{{Sfn|Avid|2019|p=1046|loc=48. Basic Mixing}}

Plug-ins are processed in real-time with dedicated DSP chips (AAX DSP format) or using the host computer's CPU (AAX Native format).{{Sfn|Avid|2019|p=1058|loc=48. Basic Mixing}}

==== Track rendering ====
Audio, auxiliary, and Instrument tracks (or MIDI tracks routed to a [[Software synthesizer|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.{{Sfn|Avid|2019|p=995–999|loc=45. Committing, Freezing, and Bouncing Tracks}}

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.{{Sfn|Avid|2019|p=1000–1002|loc=45. Committing, Freezing, and Bouncing Tracks}}

==== Mixdown ====
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 [[Stem (audio)|audio stems]].{{Sfn|Avid|2019|p=1188–1190|loc=51. Mixdown}}

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.{{Sfn|Avid|2020|p=1408|loc=62. Working with Video in Pro Tools}}

=== Session data exchange ===
Session data can be partially or entirely exchanged with other DAWs or video editing software that support [[Advanced Authoring Format|AAF]], [[Open Media Framework Interchange|OMF]], or [[Material Exchange Format|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.{{Sfn|Avid|2019|p=19–23|loc=2. Pro Tools Concepts}}

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).{{Sfn|Avid|2019|p=420–421|loc=20. Importing and Exporting Session Data}} 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.{{Sfn|Avid|2019|p=267–270|loc=14. Track Presets}}

=== Cloud collaboration ===
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).{{Sfn|Avid|2019|p=381|loc=19. Track Collaboration}}

=== Field recorder workflows ===
Pro Tools reads embedded metadata in media files to manage multichannel recordings made by [[Field recording|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.{{Sfn|Avid|2019|p=1333–1336|loc=59. Working with Field Recorders in Pro Tools}}

Analogous audio clips are identified by overlapping [[Linear timecode|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.{{Sfn|Avid|2019|p=1341–1346|loc=59. Working with Field Recorders in Pro Tools}}

=== Multi-system linking and device synchronization ===
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.{{Sfn|Avid|2019|p=1387|loc=61. Satellite Link}} One system can also be designated for video playback to optimize performance.{{Sfn|Avid|2019|p=1397|loc=62. Pro Tools Video Satellite}} Pro Tools can synchronize to external devices using [[SMPTE timecode|SMPTE/EBU timecode]] or [[MIDI timecode]].{{Sfn|Avid|2019|p=1267|loc=57. Working with Synchronization}}

== Editions ==
Pro Tools software is available in three subscription-based paid versions (Artist, Studio and Ultimate) and one free version (Intro).

Before 2022, two different perpetual licenses could be purchased: a standard edition for US$599 (informally called "Vanilla"),<ref>{{Cite web|url=https://www.pro-tools-expert.com/home-page/2018/4/7/avid-announce-pro-tools-20184-and-rebrand-pro-tools-hd-as-pro-tools-ultimate|title=Pro Tools HD ends - Avid announce Pro Tools 2018.4 and rebrand Pro Tools HD as Pro Tools Ultimate|last=Thornton|first=Mike|date=2018-07-04|website=Production Expert|language=en-GB|access-date=2019-12-12}}</ref> 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.

{| class="wikitable mw-collapsible mw-collapsed" style="text-align: center;"
|+ class="nowrap" |Pro Tools feature comparison<ref>{{Cite web|url=https://www.avid.com/pro-tools/comparison|title=Pro Tools - Music Editing Software - Comparison|website=[[Avid Technology|Avid]]|access-date=2019-12-12}}</ref><ref>{{Cite web|url=https://www.pro-tools-expert.com/home-page/2018/8/30/pro-tools-ultimate-hd-native-and-hdx-why-do-i-need-them|title=Pro Tools HD Native and HDX Hardware - Do we still need them?|last=Thornton|first=Mike|date=2018-08-09|website=Production Expert|language=en-GB|access-date=2019-12-12}}</ref>{{Sfn|Avid|2019|p=37–40|loc=5. Pro Tools Systems}}
! style="width: 160pt;" |Subscription/Software
! style="width: 110pt;" |Pro Tools Intro
! style="width: 110pt;" |Pro Tools Artist
! style="width: 110pt;" |Pro Tools Studio
! style="width: 110pt;" |Pro Tools Flex/Ultimate
|-
!License type
|Free
| colspan="3" |Paid (subscription) 
|-
!Subscription price<ref>{{Cite web|url=https://www.pro-tools-expert.com/home-page/2019/6/18/avid-to-encourage-move-to-subscription-plan-with-reductions-in-ultimate-subscriptions-and-doubling-of-pro-tools-standard-perpetual-upgrade-plans|title=Avid Are Changing Pro Tools Pricing On July 1st 2019 - Is This Good Or Bad News For You? {{!}} Pro Tools|website=Production Expert|date=June 18, 2019 |language=en-GB|access-date=2019-12-17}}</ref>
|–
|US$9.00/month
|US$31.99/month
|US$99.99/month
|-
! colspan="5" |Maximum voices, tracks, and hardware inputs
|-
!Audio tracks
|8<br>(mono/stereo)
|32<br>(mono/stereo)
|512<br>(mono/stereo/surround)
|2048<br>(mono/stereo/surround)
|-
! rowspan="2" |Voices
| colspan="3" rowspan="2" |n/a
|2048 (native/HDX Hybrid)
|-
|256/card (HDX classic)
|-
!Simultaneous recording inputs
|4
|16
|64
|256/192/64<br>(Native/HDX/HD Native)
|-
!MIDI tracks
|8
|64
| colspan="2" |1024
|-
!Instrument tracks
|8
|32
| colspan="2" |512
|-
!Auxiliary tracks/Routing folders
|4
|32
|128
|1024
|-
!VCA tracks
| colspan="2" |n/a
| colspan="2" |128
|-
!Video tracks
| colspan="2" |n/a
|1
|64
|-
!Aux I/O
|No
|Yes
|Yes
|Yes
|-
!Bit depth, Sample rate
| colspan="4" |32-bit float, 192&nbsp;kHz
|-
! colspan="5" |Production tools
|-
!Editing tools
|Basic
| colspan="2" |Standard
|Advanced
|-
! rowspan="2" |Included plugins
| rowspan="2" |Intro bundle (36)
| colspan="3" |[[Celemony Software|Celemony Melodyne]] Essential
|-
|Artist bundle (100)
| colspan="2" |Complete bundle
|-
!MIDI editor/keyboard, Elastic Audio<br>Elastic Pitch, Track presets, ARA 2
|Yes
|Yes
|Yes
|Yes
|-
!Score editor, Beat Detective,<br>Input monitoring, Clip gain
|No
|Yes
|Yes
|Yes
|-
!Audio to MIDI conversion
|No
|Yes
|Yes
|Yes
|-
!Batch Track/Clip rename, Space clips
|No
|No
|Yes
|Yes
|-
!AVE, Video editing tools,<br>Field recorder workflows
|No
|No
|Yes
|Yes<br>(Advanced video editing)
|-
! colspan="5" |Mixing tools
|-
!Multichannel mixing
| colspan="2" |Stereo
| colspan="2" |Up to 7.1.2 surround
[[Dolby Atmos]]/[[Ambisonics]]
|-
!Automation
| colspan="2" |Standard
| colspan="2" |Advanced
|-
!Clip effects
| colspan="2" |Playback only
| colspan="2" |Full
|-
!Plug-in delay compensation,<br>Offline bounce, Track freeze
|Yes
|Yes
|Yes
|Yes
|-
!VCA, AFL/PFL solo path,<br>Advanced metering
|No
|No
|Yes
|Yes
|-
!Dolby Atmos, Ambisonics VR,<br>surround mixing, ADM export
|No
|No
|Yes
|Yes
|-
!HEAT
|No
|Yes
|Yes
|Yes
|-
! colspan="5" |Program features
|-
!Cloud collaboration
|On invite
| colspan="3" |Yes (includes 1 GB of free storage space)
|-
!Session data importing
|No
|Yes
|Yes
|Yes
|-
!Timecode ruler, AAC codec
|No
|Yes
|Yes
|Yes
|-
!AAF / OMF / MXF file support
|No
|No
|Yes
|Yes
|-
!Disk cache
|No
|No
|Yes
|Yes
|-
!Satellite link<br>(sync up to 12 systems)
|No
|No
|Yes
|Yes
|}

== Control surfaces ==
In the mid-1990s, Digidesign started working on a studio device that could replace classic analog consoles and provide integration with Pro Tools. ProControl (1998) was the first Digidesign control surface, providing motorized, touch-sensitive faders, an analog [[control room]] communication section, and connecting to the host computer via [[Ethernet]]. ProControl could be later expanded by adding up to five fader packs, each providing eight additional fader strips and controls.<ref name=":25" />

Control 24 (2001) added 5.1 monitoring support and included 16 [[Power amplifier classes#Class A|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 (sound system)|Venue]] (2005) was a similar system specifically designed for live sound applications.<ref name=":29" />

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.<ref name=":29" />

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.<ref>{{Cite web|url=https://www.pro-tools-expert.com/home-page/2018/3/8/the-history-of-pro-tools-2012-to-2018|title=The History of Pro Tools - 2012 to 2018 {{!}} Pro Tools|last=Thornton|first=Mike|date=2018-03-25|website=Production Expert|language=en-GB|access-date=2020-01-28}}</ref>

== Timeline of Pro Tools hardware and software ==
{{Incomplete table|date=December 2024}}
{| class="wikitable" style="text-align: left;"
|-
!Year
! style="width: 86pt;" | Software
! style="width: 90pt;" | Hardware
! Release information
|-
!1985
|Sound Designer
|
|[[Macintosh 128K|Macintosh]]-based visual sample editing software developed for the [[E-mu Emulator II|E-Mu Emulator II]] sampler<br>dedicated ports of the original software were subsequently released for [[E-mu Emax|Emax]], [[Sequential Circuits Prophet 2000|Prophet 2000]], [[Akai S900|S900]], [[Korg DSS-1|DSS-1]], and [[Ensoniq Mirage|Mirage]] samplers<ref name=":7" />
|-
!1987
|Sound Designer 1.5
|Sound Accelerator
|universal version with enhanced editing features through Mac's hardware (mix, crossfade, gain and equalization) and supporting a variety of samplers<br>compatible with ''Sound Accelerator'' [[NuBus]] card, equipped with one [[Motorola 56000|Motorola 56001]] chip, providing dedicated DSP hardware<ref name=":7" />
|-
! rowspan="2" |1989
! colspan="2" style="height:1em;" |Sound Tools
| rowspan="2" |stereo hard-disk recording and editing system with [[16-bit audio]], 44.1&nbsp;kHz or 48&nbsp;kHz sample rate adopting the SDII proprietary audio format<ref name=":5">{{Cite web|url=https://www.pro-tools-expert.com/home-page/2018/2/19/the-history-of-pro-tools-1984-to-1993|title=The History of Pro Tools - 1984 to 1993 {{!}} Pro Tools|website=Production Expert|date=February 25, 2018 |language=en-GB|access-date=2019-11-11}}</ref><br>relies on a ''Sound Accelerator'' [[NuBus]] card connected to an external 2-channel AD converter and ''Sound Designer II'' software running on [[Macintosh SE]] and [[Macintosh II|Mac II]]{{sfn|Collins|2002|p=9}}
|-
|Sound Designer II
|Sound Accelerator<br>Audiomedia I
|-
! rowspan="2" |1991
! colspan="2" style="height:1em;" |Pro Tools
| rowspan="2" |Mac-based 4-track digital production system handled by ProEdit (editing software) and ProDeck (mixing software)<br>[[Music sequencer|MIDI sequencing]] and [[Console automation|automation]]<ref name=":5" />{{sfn|Collins|2002|p=10}}
|-
|ProEdit<br>ProDeck
|
|-
! rowspan="2" |1992
! colspan="2" |Pro Tools 1.1
|4–16 voices support in mixing using up to four cards/interfaces<ref name=":5" />
|-
! colspan="2" |Sound Tools II
|support for ''Pro Master 20'' interface with 20-bit A/D conversion{{sfn|Collins|2002|p=10}}
|-
! rowspan="2" |1993
! colspan="2" style="height:1em;" |Pro Tools II
| rowspan="2" |editing and mixing software merged in a single application called ''Pro Tools'' with the component ''DAE (Digidesign Audio Engine)''<br>4 voices support{{sfn|Collins|2002|p=10}}<ref name=":2">{{Cite web|url=http://avid.force.com/pkb/articles/ReadMe/en207687|title=Release dates and versions for Pro Tools HD/TDM (prior to v9)|website=avid.force.com|language=en-US|access-date=2018-02-03}}</ref>
|-
|
|Audiomedia II
|-
! rowspan="3" |1994
! colspan="2" |Pro Tools II TDM (2.5)
|[[Time-division multiplexing|TDM]] technology enables real-time effects to run as software plug-ins; up to 4 NuBus cards can be linked together{{sfn|Collins|2002|p=10}}<ref name=":2" />
|-
! colspan="2" style="height:1em;" |Pro Tools III
| rowspan="2" |16–48 voices on NuBus-based Mac systems (up to three cards linkable){{sfn|Collins|2002|p=11}}<br>''DSP Farm'' NuBus card equipped with 3 Motorola 56001 chips (40&nbsp;MHz clock speed) for additional processing power<ref name="dspfarmnubus">{{Cite web|url=http://archive.digidesign.com/support/propix/DSPfarmNuBus.html|title=DSP Farm - NuBus|website=archive.digidesign.com|access-date=2018-02-07}}</ref><br>software editing functionality improved
|-
|
|DSP Farm
|-
! rowspan="2" |1996
! colspan="2" style="height:1em;" |Pro Tools III PCI
| rowspan="2" |16–48 voices for [[Conventional PCI|PCI]]-based Mac systems (up to 3 cards linkable)<br>88x series interfaces with 8 channels I/O, 16-bit [[Analog-to-digital converter|AD]]/[[Digital-to-analog converter|DA]] converters, AES/EBU I/O{{sfn|Collins|2002|p=11}}<ref name=":2" /><br>''DSP Farm'' PCI card equipped with 4 Motorola 56002 chips (66&nbsp;MHz clock speed)<ref name=":26">{{Cite web|url=http://archive.digidesign.com/support/propix/DSPfarmPCIpp.html|title=DSP Farm, PCI|website=archive.digidesign.com|access-date=2019-12-18}}</ref>
|-
|Pro Tools 3.21
|888 I/O, 882 I/O<br>DSP Farm
|-
! rowspan="3" |1997
|Pro Tools 4
|Pro Tools Project Card
|WAV and QuickTime file support; ''Sound Designer'' file editing features integrated into ''AudioSuite'' toolset<br>runs on ''Pro Tools III NuBus/PCI'' systems or without TDM hardware with limitations (''Project'' or ''PowerMix'' versions)<br>destructive editing integrated, fade improvements, Strip Silence, continuous playback during editing, independently resizable tracks, up to 26 track groups, automation extended to all mixer and plug-in parameters, new automation modes<br>Loop Record, Half-Speed Record, Destructive Record, QuickPunch (punch-in and out recording during playback)<br>Edit window configurations can be saved and recalled with Memory Locations<ref name=":2" /><ref>{{Cite web|url=http://www.soundonsound.com/sos/1997_articles/jul97/protools4.html|title=Digidesign Pro Tools 4|date=July 1997|website=[[Sound on Sound]]|archive-url=https://web.archive.org/web/20150606080510/http://www.soundonsound.com/sos/1997_articles/jul97/protools4.html|archive-date=2015-06-06|url-status=bot: unknown|access-date=2018-02-06}}</ref>
|-
! colspan="2" style="height:1em;" |<nowiki>Pro Tools | 24</nowiki>
| rowspan="2" |24–48 or 32–64 channels of [[Audio bit depth|24-bit audio]] I/O support via the ''d24'' PCI card<ref name=":21">{{Cite web|url=http://www.soundonsound.com/sos/jan98/articles/digidesignpro.htm|title=Digidesign Pro Tools|last=Collins|first=Mike|date=1998|website=[[Sound on Sound]]|url-status=dead|archive-url=https://web.archive.org/web/20150607080436/http://www.soundonsound.com/sos/jan98/articles/digidesignpro.htm|archive-date=2015-06-07|access-date=2018-02-06}}</ref><br>''88x'' interface line upgraded with 24-bit AD converters, 20-bit DA converters (''<nowiki>888|24</nowiki>''), 20-bit AD/DA converters (''<nowiki>882|20</nowiki>''){{sfn|Collins|2002|p=14}}
|-
|Pro Tools 4.1
|d24<br><nowiki>888|24,</nowiki> <nowiki>882|20</nowiki>
|-
! rowspan="4" |1998
! colspan="2" style="height:1em;" |<nowiki>Pro Tools | 24 MIX</nowiki>
| rowspan="2" |16–48 I/O channels, 64 voices<br>''MIX'', ''MIXplus'' and ''MIX3'' system configurations with one ''MIX Card'' and up to two ''MIX Farm'' PCI cards equipped with 6 [[Motorola]] Onyx chips{{sfn|Collins|2002|p=14}}
|-
|Pro Tools 4.3
|MIX Card<br>MIX Farm
|-
| rowspan="2" |
|ADAT Bridge I/O
|20-bit digital interface with 16 [[ADAT Lightpipe|ADAT optical]] input channels{{sfn|Collins|2002|p=13}}
|-
|ProControl
|first dedicated control surface for Pro Tools using [[Ethernet]] connection with microphone and line inputs{{sfn|Collins|2002|p=15}}
|-
|-
!1999
|Pro Tools 5
|
|integrated MIDI and audio editing/mixing,{{sfn|Collins|2002|p=15}} MIDI piano-roll display, graphic MIDI velocity editing, MIDI quantize<br>single-stroke key commands for editing, Region Replace, floating video window<ref name=":4" />
|-
! rowspan="2" |2000
|'''Pro Tools LE'''
|Digi 001 (LE)
|mid-level recording system with 24 tracks, 8 analog I/O channels, 2 microphone preamps, 24-bit [[Analog-to-digital converter|AD]]/[[Digital-to-analog converter|DA]], digital I/O and MIDI<br>rack-mountable interface connected with a PCI card running a new feature-limited software line ("Light Edition") with [[Real Time AudioSuite|RTAS]] host-based processing (without DSP){{sfn|Collins|2002|p=16}}<ref name=":4" />
|-
|
|<nowiki>Control|24</nowiki>
|touch-sensitive control surface equipped with 24 [[Focusrite]] preamps{{sfn|Collins|2002|p=16}}
|-
! rowspan="2" |2001
|'''Pro Tools Free'''
|
|free version with essential features, based on version 5, runs natively on OS 9, OS 8.6, Windows 98, Windows ME<br>8 audio tracks, 48 MIDI tracks, RTAS support
|-
|Pro Tools 5.1
|
|surround mixing, Beat Detective (TDM)<ref name=":2" />
|-
! rowspan="5" |2002
! colspan="2" style="height:1em;" |<nowiki>Pro Tools | HD</nowiki>
| rowspan="3" |''HD'' software and hardware line adds support for 192&nbsp;kHz and 96&nbsp;kHz sample rates, runs with ''192 I/O'' and ''96 I/O'' interfaces providing 32–96 I/O channels<br>''HD1''–''HD3'' systems are based on one ''HD Core'' adding up to two ''HD Process'' PCI-based cards equipped with 9 Motorola 56361 DSP chips (100&nbsp;MHz clock speed)<br>96/48/12 tracks at 48/96/192&nbsp;kHz sample rates with ''HD1'' systems<br>128/64/24 tracks at 48/96/192&nbsp;kHz sample rates with ''HD2/HD3'' systems{{sfn|Collins|2002|p=16}}''<ref name=":2" />''<ref name=":1">{{Cite news|url=https://www.mixonline.com/technology/digidesign-pro-toolshd-369437|title=Digidesign Pro Tools{{!}}HD|last1=Denten|first1=Michael|date=September 2002|work=[[Mix (magazine)|Mix Magazine]]|access-date=2018-02-04|last2=Hawkins|first2=Erik|language=en-us}}</ref>
|-
| rowspan="2" |Pro Tools 5.3.1
|192 I/O, 96 I/O<br>SYNC, MIDI, PRE
|-
|HD Core<br>HD Process
|-
| rowspan="2" |
|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{{sfn|Collins|2002|p=16}}
|-
|Digi 002 (LE)
|mid-level [[IEEE 1394|FireWire]] audio interface with 8 analog inputs, 24-bit/96&nbsp;kHz converters, touch-sensitive control surface, running ''Pro Tools LE 5.3.2'' on [[Windows XP]] and [[Mac OS 9]]{{sfn|Collins|2002|p=16}}<ref name=":22">{{Cite web|url=https://www.soundonsound.com/reviews/digidesign-digi-002|title=Digidesign Digi 002|last1=Poyser|first1=Debbie|last2=Johnson|first2=Derek|date=December 2002|website=[[Sound on Sound]]|language=en-gb|access-date=2018-02-05}}</ref>
|-
! rowspan="4" |2003
|Pro Tools 6
|
|support for [[MacOS|Mac OS X]] platform (OS 9 dropped), [[Graphical user interface|GUI]] redesign, real-time plug-in insertion for TDM systems<br>Relative Grid mode, support for timeline vertical selection<br>Digibase (workspace browser and database environment) for media/project management<br>256 MIDI tracks, Groove Template, additional MIDI commands, Import Session Data replaces Import Tracks<br>new DigiRack plug-ins, more powerful LE version<ref name=":10">{{Cite web|url=https://www.soundonsound.com/reviews/digidesign-pro-tools-6|title=Digidesign Pro Tools 6|last=Price|first=Simon|date=May 2003|website=[[Sound on Sound]]|language=en-gb|access-date=2018-02-04}}</ref>
|-
|Pro Tools 6.1
|
|support for [[Windows XP]] and [[ReWire (software protocol)|ReWire]], support for [[Advanced Authoring Format|AAF]]''<ref name=":2" />''
|-
| rowspan="2" |
|Digi 002 Rack (LE)
|mid-level [[IEEE 1394|FireWire]] audio interface with up to 18 I/O channels, 4 mic preamps, 24-bit/96&nbsp;kHz AD/DA, support for 32 tracks with ''Pro Tools LE'' software{{sfn|Collins|2002|p=17}}
|-
|HD Accel (HD)
|DSP cards expansion equipped with 9 [[Motorola 56000|Motorola 56321]] chips (200&nbsp;MHz clock speed)<br>twice the power as the ''HD Process'' cards extends track count to 192/96/36 tracks at 48/96/192&nbsp;kHz sample rates (combined with one ''HD core'' card){{sfn|Collins|2002|p=17}}<ref name=":27" />
|-
! rowspan="3" |2004
|Pro Tools 6.4
|
|  +12&nbsp;dB fader range<br>support for ''Command 8'' control surface, Automatic Delay Compensation, TrackPunch, input monitoring on single tracks (HD)<ref name=":11">{{Cite web|url=https://www.soundonsound.com/techniques/pro-tools-v6.4-update|title=Pro Tools 6.4 Update|last=Price|first=Simon|date=July 2004|website=[[Sound on Sound]]|language=en-gb|access-date=2018-02-04}}</ref>
|-
|Pro Tools 6.9
|
|160 auxiliary tracks, 128 busses, Surround Panner support, selectable PFL/AFL solo paths (HD)<br>selectable solo mode (Latch or [[Exclusive or|X-OR]]), new keyboard shortcuts, I/O setup improvements<ref>{{Cite web|url=https://www.soundonsound.com/techniques/whats-new-pro-tools-69|title=What's new in Pro Tools 6.9|last=Thornton|first=Mike|date=July 2005|website=[[Sound on Sound]]|language=en-gb|access-date=2018-02-04}}</ref>
|-
|
|ICON D-Control<br>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<ref>{{Cite web|url=https://www.soundonsound.com/reviews/digidesign-icon|title=Digidesign Icon|last=Wherry|first=Mark|date=August 2006|website=[[Sound on Sound]]|language=en-gb|access-date=2018-02-05}}</ref>
|-
! rowspan="4" |2005
|'''Pro Tools''' {{Nowrap|'''M-Powered'''}}
|
|standalone feature-limited product line bundled with [[M-Audio]] interfaces, same as Pro Tools LE<ref name=":18" />
|-
|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&nbsp;kHz (HD)<ref name=":12" />
|-
| rowspan="2" |
|[[Venue (sound system)|VENUE]]
|new line of modular [[digital mixing console]]s with DSP and integrated playback and recording with Pro Tools<ref>{{Cite web|url=https://www.mixonline.com/technology/product-news-plasa-digidesign-venue-live-sound-environment-d-show-mixing-console-380638|title=Product news from PLASA: Digidesign VENUE Live Sound Environment, D-Show Mixing Console|date=2004-09-16|website=[[Mix (magazine)|Mix Magazine]]|language=en-us|access-date=2019-08-26}}</ref>
|-
|Mbox 2 (LE)
|second generation of the Mbox USB audio interface<ref>{{Cite web|url=https://www.soundonsound.com/reviews/digidesign-m-box-2|title=Digidesign Mbox 2|last=Inglis|first=Sam|date=November 2005|website=[[Sound on Sound]]|access-date=2019-08-26}}</ref>
|-
! rowspan="4" |2006
|Pro Tools 7.11
|
|support for [[Apple–Intel architecture|Intel-based Macs]], ''Hybrid'' and ''Xpand!'' [[software sampler]] plug-ins added
|-
|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)<ref name=":13">{{Cite web|url=https://www.soundonsound.com/reviews/digidesign-pro-tools-72|title=Digidesign Pro Tools 7.2|last=Price|first=Simon|date=September 2006|website=[[Sound on Sound]]|language=en-gb|access-date=2018-02-04}}</ref>
|-
|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 (software)|Sibelius]] scoring software<ref>{{Cite web|url=https://www.soundonsound.com/techniques/pro-tools-whats-new-73|title=Pro Tools: What's New In 7.3|last=Thornton|first=Mike|date=April 2007|website=[[Sound on Sound]]|language=en-gb|access-date=2018-02-05}}</ref>
|-
|
|Mbox 2 Pro (LE)<br>Mbox 2 Mini (LE)
|new formats/variants of Mbox 2
|-
! rowspan="3" |2007
|Pro Tools 7.4
|
|[[Audio time stretching and pitch scaling|Elastic Audio]], Digibase browser enhancements<ref name=":30" />
|-
| rowspan="2" |
|Digi 003 (LE)<br>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&nbsp;kHz sample rates<ref>{{Cite web|url=https://www.soundonsound.com/reviews/digidesign-m-box-2-micro|title=Digidesign M Box 2 Micro|website=[[Sound on Sound]]|access-date=2019-08-26}}</ref>
|-
! rowspan="2" |2008
|Pro Tools 8
|
|revamped user interface, support for 10 inserts per track, Playlist view, and enhanced track compositing tools, support for multiple automation lanes view, Elastic Pitch, MIDI Editor, Score Editor, AIR Creative Collection; Automatic Delay Compensation on sends (HD)<ref name=":14">{{Cite web|url=https://www.soundonsound.com/reviews/digidesign-pro-tools-8|title=Digidesign Pro Tools 8|last=Wherry|first=Mark|date=January 2009|website=[[Sound on Sound]]|language=en-gb|access-date=2018-02-04}}</ref>
|-
|
|Digi 003 Rack + (LE)
|
|-
! rowspan="2" |2009
| rowspan="2" |
|Eleven Rack
|guitar effects processor with Pro Tools LE DSP
|-
|Mbox (LE)<br>Mbox Pro (LE)<br>Mbox Mini (LE)
|third generation, first full release by Avid
|-
! rowspan="4" |2010
|Pro Tools 8.1
|
|HEAT software add-on (HD)
|-
|Pro Tools 9
|
|"standard" version replaces LE and {{Nowrap|M-Powered}} lines, gets most of the HD-only software features, and can be run on native systems with ASIO or Core Audio driver protocols<br>full HD features can be purchased with ''Complete Production Toolkit 2''<br>added 7.0/7.1 surround support (HD)<ref name=":23" /><ref name=":3">{{Cite web|url=http://avid.force.com/pkb/articles/en_US/faq/en393795|title=Release dates and versions for Pro Tools (v9 and later)|website=avid.force.com|access-date=2018-02-03}}</ref>
|-
| rowspan="2" |
|HD I/O, HD OMNI, HD MADI, SYNC HD
|''HD Series Interfaces'' introduced (replaces the previous "blue" HD series)<ref>{{Cite web|url=https://www.soundonsound.com/reviews/avid-hd-omni|title=Avid HD Omni {{!}}|website=[[Sound on Sound]]|language=en-gb|access-date=2018-02-06}}</ref>
|-
|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<ref name=":0">{{Cite web|last=Thornton|first=Mike|date=May 2011|title=Avid Pro Tools HD Native|url=https://www.soundonsound.com/reviews/avid-pro-tools-hd-native|archive-url=|archive-date=|access-date=2018-02-05|website=[[Sound on Sound]]|language=en-gb}}</ref>
|-
! rowspan="2" |2011
! colspan="2" style="height:1em;" |<nowiki>Pro Tools | HDX</nowiki>
| rowspan="2" |96 voices, 512 Instrument tracks, 128 aux inputs, 1 video track, 128/64/32 tracks at 48/96/192&nbsp;kHz sample rates (standard version)<br>256–768 voices, 512 Instrument tracks, 512 aux inputs, 64 video tracks, 256–768 tracks at 48&nbsp;kHz sample rates, 64–192 I/O channels (HDX systems with 1–3 HDX cards)<br>''HDX'' replaces ''HD Core'' systems and ''HD1''–''HD3'' configurations; each PCI card is equipped with 18 [[Texas Instruments]] DSP chips (350&nbsp;MHz clock speed), can run AAX DSP plug-ins<br>''AAX'' (Avid Audio eXtension) plug-in format introduced with 64-bit ready [[Software development kit|SDK]] (32-bit still used); ''AAX DSP'' plug-ins replace ''TDM'' plug-ins in HD systems, ''RTAS'' still supported<br>improved recording playback performance (disk cache, NAS support, disk scheduler improvements)<br>Clip Gain, disk cache, real-time fades, 4x maximum Automatic Delay Compensation, 24-hour timeline, support for mixed file formats and [[32-bit floating point|32-bit float]] resolution, interface improvements, ''Avid Channel Strip'' plug-in<ref name=":15" /><ref name=":3" />
|-
|Pro Tools 10
|HDX
|-
!2013
|Pro Tools 11
|
|application upgraded with [[64-bit computing|64-bit]] architecture. 32-bit ''RTAS'' and ''TDM'' plug-in support dropped in favor of 64-bit AAX format; support discontinuation for ''HD Accel'' systems<br>Offline bouncing, Dynamic Plug-In processing optimizes session performance; up to 16 sources can be bounced simultaneously, advanced metering options (HD)<ref name=":19">{{Cite web|url=https://www.soundonsound.com/reviews/avid-pro-tools-11|title=Avid Pro Tools 11|last=Wherry|first=Mark|date=September 2013|website=[[Sound on Sound]]|language=en-gb|access-date=2018-02-05}}</ref>
|-
!2014
|
|Duet<br>Quartet
|2-channel and 4-channel USB interfaces/monitor controllers with 192&nbsp;kHz AD/DA conversion developed by [[Apogee Electronics|Apogee]]
|-
! rowspan="6" |2015
|'''<nowiki>Pro Tools | First</nowiki>'''
|
|free software line with essential features, cloud-based sessions<br>up to 96&nbsp;kHz sample rate, 16 tracks per type (audio, MIDI, Instrument, and auxiliary), 4 I/O channels, MIDI editor, Elastic Time, Elastic Pitch, Workspace, AAX Native and AudioSuite<ref name=":20">{{Cite web|url=https://www.soundonsound.com/reviews/avid-pro-tools-123#para8|title=Avid Pro Tools 12.3|last=Wherry|first=Mark|date=January 2016|website=[[Sound on Sound]]|language=en-gb|access-date=2018-02-06}}</ref><ref name=":3" />
|-
|Pro Tools 12
| rowspan="5" |
|available as monthly or yearly subscription; metadata tagging, updated I/O setup<ref name=":3" />
|-
|Pro Tools 12.1
|increased track count, AFL/PFL solo modes, copy to sends, native HEAT support (HD)<ref name=":3" />
|-
|Pro Tools 12.2
|[[Variable-gain amplifier#Digital variable-gain amplifier|VCAs]], Disk Caching, advanced metering options unlocked to standard version<ref name=":3" />
|-
|Pro Tools 12.3
|Commit, fade presets, batch fades, clip graphic overlay<ref name=":3" />
|-
|Pro Tools 12.4
|Track Freeze, fade workflows<ref name=":3" />
|-
! rowspan="3" |2016
|Pro Tools 12.5
| rowspan="3" |
|[[Cloud collaboration|Cloud Collaboration]], updated Avid Video Engine, send to playback (Interplay)<ref name=":3" />
|-
|Pro Tools 12.6
|Clip Effects, Layered Editing, playlist improvements<ref name=":3" />
|-
|Pro Tools 12.7
|project revision history, Workspace improvements<br>software support for <nowiki>Pro Tools | MTRX</nowiki><ref name=":3" />
|-
! rowspan="2" |2017
|Pro Tools 12.8
| rowspan="2" |<nowiki>Pro Tools | MTRX</nowiki>
|native [[Dolby Atmos]] integration and NEXIS optimization, Parallel Task Optimization (HD); Workspace and project enhancements; Smart Tool support for fade shapes; Cloud Collaboration (First)<ref name=":3" />
|-
|Pro Tools 12.8.2
|[[Ambisonics|Ambisonics VR]] Track support, Dolby Atmos enhancements, improved MIDI editing and recording features, Batch renaming features<ref name=":3" />
|-
! rowspan="4" |2018
|Pro Tools 2018.1
| rowspan="4" |
|iLok Cloud support, Track Presets, assignable target playlist, retrospective MIDI record, MIDI editing enhancements, EQ Curve can be shown in the Mix window, improved Import Session Data<ref name=":3" /><br>first version to adopt year and month of release as a version numbering scheme
|-
|Pro Tools 2018.4
|<nowiki>"Pro Tools | HD" software line rebranded as "Pro Tools | Ultimate"</nowiki><br>bug fixes and stability improvements<ref name=":3" />
|-
|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<ref>{{Cite web|url=http://avid.force.com/pkb/articles/readme/Pro-Tools-2018-7-Release-Notes|title=Pro Tools 2018.7 Release Notes|website=avid.force.com|access-date=2019-04-12}}</ref>
|-
|Pro Tools 2018.12
|bug fixes and stability improvements<ref>{{Cite web|url=http://avid.force.com/pkb/articles/readme/Pro-Tools-2018-12-Release-Notes|title=Pro Tools 2018.12 Release Notes|website=avid.force.com|access-date=2019-04-12}}</ref>
|-
! rowspan="4" |2019
|Pro Tools 2019.5
| rowspan="4" |
|384–96 voices on native systems (Ultimate), 1024 MIDI tracks<br>performance improvements (HDX / HD Native)<br>continuous playback on most timeline and track interactions, key commands added<ref>{{Cite web|url=http://avid.force.com/pkb/articles/en_US/ReadMe/Pro-Tools-2019-5-Release-Notes|title=Pro Tools 2019.5 Release Notes|website=avid.force.com|access-date=2019-05-12}}</ref>
|-
|Pro Tools 2019.6
|bug fixes<ref>{{Cite web|url=http://avid.force.com/pkb/articles/en_US/ReadMe/Pro-Tools-2019-6-Release-Notes|title=Pro Tools 2019.6 Release Notes|website=avid.force.com|access-date=2019-11-01}}</ref>
|-
|Pro Tools 2019.10
|support for up to 130 outputs with Dolby Audio Bridge, multi-stem bounce in a single file (Ultimate)<br>updated Avid Video Engine with [[4K resolution|4K]]/[[Frame rate|60 fps]] support and [[H.264]] playback performance improvements, steep breakpoint smoothing option added, AAF importing improvements, [[Unique Material Identifier|SMPTE ID]] support for wave files, key commands added<ref>{{Cite web|url=http://avid.force.com/pkb/articles/en_US/ReadMe/Pro-Tools-2019-10-Release-Notes|title=Pro Tools 2019.10 Release Notes|date=February 19, 2020|website=avid.force.com|access-date=2020-04-01}}</ref>
|-
|Pro Tools 2019.12
|bug fixes and stability improvements<ref>{{Cite web|url=http://avid.force.com/pkb/articles/en_US/ReadMe/Pro-Tools-2019-12-Release-Notes|title=Pro Tools 2019.12 Release Notes|website=avid.force.com|access-date=2020-01-29}}</ref>
|-
! rowspan="5" |2020
|Pro Tools 2020.3
| rowspan="3" |<nowiki>Pro Tools | MTRX Studio</nowiki>
|Folder Tracks, Resources section added in System Usage, H.264 performance improvements extended<br><nowiki>support for Pro Tools | MTRX Studio</nowiki><ref>{{Cite web|url=http://avid.force.com/pkb/articles/en_US/ReadMe/Pro-Tools-2020-3-Release-Notes|title=Pro Tools 2020.3 Release Notes|date=March 24, 2020|website=avid.force.com|access-date=2020-04-01}}</ref><ref name=":8">{{Cite web |title=What's New in Pro Tools |url=https://www.avid.com/resource-center/whats-new-in-pro-tools |access-date=2022-05-03 |website=[[Avid Technology|Avid]]}}</ref>
|-
|Pro Tools 2020.5
|optimizations for session storage on cloud services<ref>{{Cite web|title=Pro Tools 2020.5 Release Notes|url=https://avid.secure.force.com/pkb/articles/readme/Pro-Tools-2020-5-Release-Notes|website=avid.force.com|access-date=2020-05-30}}</ref><ref name=":8" />
|-
|Pro Tools 2020.9
|support for Ableton Link for timeline and transport synchronization over [[Local area network|LAN]]<br>support for SDII conversion to BWF WAV on import (macOS only), support for [[Broadcast Wave Format|BWF]] [[RF64]] audio import and playback; Cloud Collaboration improvements<ref>{{Cite web|title=Pro Tools 2020.9 & 2020.9.1 Release Notes|url=https://avid.secure.force.com/pkb/articles/en_US/ReadMe/Pro-Tools-2020-9-Release-Notes|access-date=2020-09-17|website=avid.secure.force.com}}</ref><ref name=":8" />
|-
|Pro Tools 2020.11
|<nowiki>Pro Tools | Carbon</nowiki>
|Dark Theme, Space Clips; integration of [[Melodyne]] Essential software, audio to MIDI conversion, [[QuickTime File Format|QuickTime MOV]] import/export functionality<br><nowiki>support for low-latency AAX DSP mode (Hybrid Engine) with Pro Tools | Carbon interfaces</nowiki><br>512 Master faders, support for Dolby Atmos ADM BWF export (Ultimate)<br>performance improvements of offline bounces and playback with low buffer sizes<ref>{{Cite web|title=Pro Tools 2020.11 Release Notes|url=https://avid.secure.force.com/pkb/articles/en_US/ReadMe/Pro-Tools-2020-11-Release-Notes|access-date=2020-12-15|website=avid.secure.force.com}}</ref><ref name=":8" />
|-
|Pro Tools 2020.12
|
|support for Audio to MIDI drag and drop from Workspace/Finder/File Explorer; Dolby Atmos ADM BWF export<ref>{{Cite web |title=Pro Tools 2020.12 Release Notes |url=https://avid.secure.force.com/pkb/articles/readme/Pro-Tools-2020-12-Release-Notes |access-date=2022-05-03 |website=avid.secure.force.com}}</ref><ref name=":8" />
|-
! rowspan="5" |2021
|Pro Tools 2021.3
|<nowiki>Pro Tools | Sync X</nowiki>
|Virtual MIDI keyboard; Dark Theme, Dolby Atmos, Dynamic Transport and waveform display performance improvements<br>HD driver updated to support [[Message Signaled Interrupts]] (MSI)<br>support for Sync X master clock/synchronization device and [[macOS Big Sur]]<ref>{{Cite web |title=Pro Tools 2021.3 Release Notes |url=https://avid.secure.force.com/pkb/articles/readme/Pro-Tools-2021-3-Release-Notes |access-date=2022-05-03 |website=avid.secure.force.com}}</ref><ref name=":8" />
|-
|Pro Tools 2021.6
|
|2048 voices and 2048 audio tracks at all sample rates; Hybrid Engine support on HDX systems (Ultimate)<br>256 tracks at all sample rates (Standard); 64 I/O channels at all sample rates<br>full UI customization, interchangeable track width; full support of plug-in drag between tracks of different widths<br>support for delay compensation on side chains on non-HDX systems<br>support of HEVC, AAC, ALAC and greater-than-stereo track widths for QuickTime video import/export<br>Playback Engine performance and stability improvements (Intel-based Macs only): [[Intel Turbo Boost]] support, low buffer sizes optimizations, limit number of real-time threads<br>Sync X and Sync HD improvements<br>[[Apple silicon|Apple Silicon]] support for Pro Tools software<ref>{{Cite web |title=Pro Tools 2021.6 Release Notes |url=https://avid.secure.force.com/pkb/articles/readme/Pro-Tools-2021-6-Release-Notes |access-date=2022-05-03 |website=avid.secure.force.com}}</ref><ref name=":8" />
|-
|Pro Tools 2021.7
|
|bug fixes<ref>{{Cite web |title=Pro Tools 2021.7 Release Notes |url=https://avid.secure.force.com/pkb/articles/readme/Pro-Tools-2021-7-Release-Notes |access-date=2022-05-03 |website=avid.secure.force.com}}</ref>
|-
|Pro Tools 2021.10
|
|<nowiki>flexible track routing (Ultimate), new UI customization parameters, support for Native Instruments Komplete Kontrol and Pro Tools | Carbon remote control</nowiki><br>Apple Silicon support for HDX, HD Native and Avid Video Engine<ref>{{Cite web |title=Pro Tools 2021.10 Release Notes |url=https://avid.secure.force.com/pkb/articles/en_US/ReadMe/Pro-Tools-2021-10-Release-Notes |access-date=2022-05-03 |website=avid.secure.force.com}}</ref><ref name=":8" />
|-
|Pro Tools 2021.12
|
|[[macOS Monterey]] support; bug fixes<ref>{{Cite web |title=Pro Tools 2021.12 Release Notes |url=https://avid.secure.force.com/pkb/articles/en_US/ReadMe/Pro-Tools-2021-12-Release-Notes |access-date=2022-05-03 |website=avid.secure.force.com}}</ref><ref>{{Cite web |title=Pro Tools 2021.12 Release Notes |url=https://avid.secure.force.com/pkb/articles/readme/Pro-Tools-2021-12-Release-Notes |access-date=2022-05-03 |website=avid.secure.force.com}}</ref>
|}

== See also ==
{{Portal|Music}}
* [[Comparison of multitrack recording software]]
* [[List of music software]]

==References==
'''Footnotes'''
{{Reflist|2}}

'''Bibliography'''
{{refbegin|}}
* {{cite book
  | last      = Collins
  | first     = Mike
  | year      = 2002
  | title     = Pro Tools for music production: recording, editing and mixing
  | chapter   = 2. The Evolution of Pro Tools – A Historical Perspective
  | publisher = [[Focal Press]]
  | location  = [[Oxford]]
  | isbn      = 978-0-24-051943-2
  | oclc      = 60663870
  }}
* {{cite book
  | last      = Manning
  | first     = Peter
  | year      = 2013
  | title     = Electronic and Computer Music
  | chapter   = 20. The Personal Computer
  | publisher = [[Oxford University Press]]
  | chapter-url       = https://books.google.com/books?id=75EiOeUFZMEC&pg=PA387
  | isbn      = 978-0-19-974639-2
  }}
* {{cite book
  | last      = Milner
  | first     = Greg
  | year      = 2009
  | title     = Perfecting Sound Forever: The Story of Recorded Music
  | chapter   = 8: Tubby's Ghost
  | chapter-url       = https://books.google.com/books?id=x-faxiGMNWoC&pg=PT245
  | publisher = [[Granta Publications]]
  | isbn      = 978-1-84708-605-1
  }}
* {{cite book
  | last1     = Battino
  | first1    = David
  | last2     = Richards
  | first2    = Kelli
  | year      = 2005
  | title     = The Art of Digital Music: 56 Visionary Artists and Insiders Reveal Their Creative Secrets
  | chapter   = Peter Gotcher
  | chapter-url       = https://archive.org/details/artofdigitalmusi00davi/page/38
  | chapter-url-access= registration
  | publisher = [[Backbeat Books]]
  | location  = [[San Francisco, CA|San Francisco]]
  | isbn      = 0-87930-830-3
  }}
* {{cite book
  | last      = Avid
  | year      = 2019
  | title     = Pro Tools Reference Guide
  | url       = http://resources.avid.com/SupportFiles/PT/Pro_Tools_Reference_Guide_2019.6.pdf
  | publisher = [[Avid Technology|Avid]]
  }}
* {{cite book
  | last      = Avid
  | year      = 2020
  | title     = Pro Tools Reference Guide
  | url       = http://resources.avid.com/SupportFiles/PT/Pro_Tools_Reference_Guide_2020.11.pdf
  | publisher = [[Avid Technology|Avid]]
  }}
{{refend}}

==External links==
{{Commons category|Pro Tools}}
*{{Official website|https://www.avid.com/pro-tools}} Avid Pro Tools

{{Audio editors}}
{{Digital audio workstations}}

[[Category:Digital audio workstation software]]
[[Category:Audio recording software]]
[[Category:Music production software]]
[[Category:Electronic music software]]
[[Category:Music software]]
[[Category:Soundtrack creation software]]
[[Category:Sound recording]]
[[Category:Audio engineering]]
[[Category:MacOS multimedia software]]
[[Category:Windows multimedia software]]
[[Category:1989 software]]