Total Recorder Editor Pro v11.5.1 serial key or number

Total Recorder Editor Pro v11.5.1 serial key or number

Total Recorder Editor Pro v11.5.1 serial key or number

Total Recorder Editor Pro v11.5.1 serial key or number

Pyramix 11.0

Merging Technologies embraced DSD/DXD almost 20 years ago to offer the highest possible resolution audio and bridge the gap between analog and digital audio.

Pyramix quickly became the reference for no compromise recordings.

Audio over IP standards brought a new way of interconnecting studio equipment. Merging Technologies decided to join those exciting developments, the ultimate goal being transporting audio in the most transparent way over digital lines and enjoy all the benefits and flexibility of AoIP. In short: moving analog-like audio over IP networks, or carrying your music intact over modern IP production chains.

RAVENNA was the one format that could allow it to happen. No other standard was capable of carrying high-resolution audio over IP. Building upon this decision, in 2017 Merging Technologies came up with a major milestone by linking Pyramix 11 to ANEMAN; our new Audio Network Manager tool. Bringing all your RAVENNA/AES67 devices within one interface gives you full control of the network.

Pyramix 12 saw the inclusion of a full Ambisonic workflow up to 7th order consolidating its position as the most complete immersive audio DAW on the market. You could map any format into any format, for example mapping an ambisonic ambiance recording into a 7.1 bus and being able to rotate it, tilt it, etc… all from the panner controls. Imagine the possibilities!

For Merging’s 30th and Pyramix 25th Anniversaries, we looked for a way to make a significant impact and positive contribution to the music industry: We radically re-organised our software packs and prices to allow EVERYONE to enjoy DSD/DXD technology, “the single format that keeps your music alive” according to a world famous R&B producer.

We allow creators of sonic gems, our loyal customers, to be able to have a broader outreach with their music. Such masterpieces have often been immersive as this has been something Pyramix allowed producers to do for so many years already. The logical step was to deliver these music treasures in what is becoming the most accessible immersive format for music: Dolby Atmos ®.

New Features and Enhancements

New packs and prices

Pyramix now comes into 3 versions:


Pyramix ELEMENTS is extremely affordable, giving you all the 3D audio tools you can dream of as well as your entry into “Analog-like” digital audio.

Pyramix PRO brings in the acclaimed Source/Destination Editing that you can use (regardless of which DAW you chose to record on and which ones you will mix with, although we obviously recommend to stay in Pyramix for the best sonic integrity) as well as a wealth of mixing tools.

Pyramix PREMIUM is the ultimate mastering tool including everything you need to record, edit, mix and importantly, deliver amazing music in any formats.

Discover our new packs here.

Dolby Atmos® Renderer integration

Pyramix 25th anniversary now enables integration with the Dolby Atmos Render whether it comes as an HE-RMU turnkey from Dolby or just a standalone software such as the Dolby Atmos Production Suite.

The maximum input bed size of the Dolby Atmos renderer being 7.1.2 but our customers typically working natively with wider bus sizes such as 7.1.4 or 9.1.4, we have decided to develop a unique workflow to facilitate production, all in compliance with Dolby’s guidelines.

Pyramix 25th detects whenever the channel of a standard Pyramix bus is mapped to a Dolby Atmos Renderer object and sends the corresponding metadata in order to “emulate” a speaker.
Therefore it becomes very easy to natively work in Pyramix with a 7.1.4, 7.1.6, 9.1.6 bus, and more, and enjoy a streamlined workflow into the Dolby Atmos world.

The mastering engineer gets the freedom to quickly “map” a Pyramix bus to an Atmos bed, a set of objects (speakers emulation) or a mix of both in order to find the best configuration for a particular project.

Naturally Pyramix 25th also allows to send dynamic objects.

When those objects are disabled, they can be automatically sent to a regular bus. Again this allows mastering engineers to quickly reconfigure their mixer to allow for different output deliveries.

Dongle less security

We’re serious when we say we want everyone to give a go at no-compromise recording, editing and mixing.

For Merging Technologies this has meant finding a better way to facilitate licences deployment.

We are now able to deliver licences without the need for any hardware dongles.

Native Multi-Threading

Pyramix has been famous for its MassCore engine which delivered unprecedented power on CPUs with multiple cores, extremely low latency and ultra high track counts with unrivalled reliability.

Merging Technologies now is offering people who couldn’t afford MassCore to get dramatically more performances from their CPU in native mode.

MassCore remains Merging Technologies flagship workhorse, but we really wanted to make some of our technology available to smaller budgets.

New Features and Enhancements

Complete hybrid Channel Based & Ambisonic workflow

Pyramix 12 includes a complete hybrid Channel Based/Ambisonic workflow, allowing for encoding, mixing, rotating and decoding Ambisonic signal directly in the mixing console. Ambisonic Decoders supported up to 7th order in Pyramix v12 and Ovation v8 with the b<>com integration within the Pyramix mixer.

  • Ambisonic Strips and Ambisonic Groups of 3rd to 7th order are properly decoded if the VR Pack key is present
  • Ambisonic Strips and Ambisonic Groups of 1st and 2nd order are always decoded even if the VR Pack key is not present
  • Ambisonic Strips and Ambisonic Groups of 3rd to 7th order are decoded using a 2nd order decoder if the VR Pack key is NOT present

Mixer Improvements
  • Bus matrix grid: the General Mixing Bus section of the mixing console can now be operated as a big Matrix Grid.
  • New scroll: Added Mouse Wheel support in the mixing console
  • Movable elements: VCA Strips and Group Strips can now be moved in the Mixer.
  • Routing Presets: Pyramix v12 brings new Save/Load presets available within Mixing Console Routing Page.
  • New Predefined Speaker Sets available

EVO CHANNEL & EVO IN - now available in VS3 plugin format (key required)

EVO CHANNEL: The Ultimate Channel Strip Redefined

Gain/Drive, Phase, Compressor, EQ, DeEsser, Expander, Transient/Sustain Designer, Hands-on interface, Fast Workflow, Adjustable Signal Flow, Stay in control of your sound!

EVO IN: Stay In Phase – Maintain The Vitality

Unique, Precise, Arbitrary and Linear Phase Rotation, Phase Group to enable and disable phase for all of the included tracks at the same time. Electrical Polarity Inverter. Soft saturation to attain roundness and warmth, restoring and maintaining the vitality of the sound!

Authoring and Album Publishing enhancements


  • New Generate Master: Revamping of the Generate CD/SACD images with added features.
  • Import MTFF Digital Release: Users can now import their MTFF Digital Release into the Pyramix timeline and edit the CD tags if corrections are needed
  • New CD text import feature (CDTEXT.BIN)

DXD/DSD new features

  • New SACD Cutting Master generation feature that replaces the former SACD CM wizard
  • Digital Release now allows users to generate DSD128 and DSD256 Edited Masters in either DSD rendering or Mixdown mode, this also allows DSD128 and DSD256 input formats for Album Publishing.
  • New Meco Sigma Delta Modulator available in Album Publishing
  • DSD render now offers DSD Processing at original DSD material sample rate (i.e. 64 Fs for DSD64, 128 Fs for DSD128, 256 Fs for DSD256).
  • MTFF DSD Digital Release Generation can be imported in the Album Publishing or DiscWrite.

Discwrite MTFF editing support

  • A text validator is now available to ensure that a final verification is performed prior delivering to your customers or replication plant the final Master.

The new ANEMAN 1.2 is mandatory to function with the above Pyramix/Ovation versions within your Horus, Hapi and/or Anubis ecosystem. Be aware that this new version has multicast (purple) AND unicast (blue) connections and you will need to check your ancient connection once this version is installed. For more details on unicast/multicast refer to this page on our knowledge base.

  • MERGING+ANUBIS and ZOEM support: Use ANEMAN 1.2 to manage your MERGING+ANUBIS or ZOEM network connections.
  • Support for Unicast: To complement ANEMAN’s Multicast support we’ve added the Unicast support in order to connect one source to one destination i.e. One-to-One.
  • Discovery and Zone improvements: Better handling of the Devices discovery and Zone management
  • New plugins support: Ross devices plugin support

Windows 10 October 2018 Update (1809) Support

This includes the Zombieload updates (Microarchitectural Data Sampling released May 14, 2019)

Note: see the 'Supported Operating Systems' page on our knowledge base for information on supported Windows versions.

Merging is always eager to support the latest version of the operating system. With our Native and our MassCore versions. Please refer to our Windows 10 Update page on our knowledge base for important information.

New Features and Enhancements

Full Object Based Audio workflow

Pyramix 10 introduced a new bus structure (7.1, 9.1, 13.1, 22.2, etc.) including a 3D panner and the appropriate monitoring section, and now Pyramix 11.1 is the first DAW with a complete workflow to generate master files with Object-Based Audio (OBA) metadata according to the Audio Definition Model (ADM) or MPEG-H 3D audio.

This now completes the former OBA workflow, primarily designed for Dolby Atmos mixing for Film or Immersive Live performance, into a comprehensive workflow for TV production with the addition of multi-language support and ADM format export.

More information in this press release.

Album Publishing enhancements and new standalone application

Even faster workflow to export your mastermix with all the metadata (entered once) in multiple file formats simultaneously. Album Publishing is now an independent application (automatically installed with Pyramix), preferences can now be easily saved concerning the order of the metadata that one wants to see in the filename. The source file could be a simple WAV file or a MTFF file (containing metadata produced by Pyramix) and produce MP3, FLAC and AIFF in different sample rates and bit rates at the same time.

Mixer, VST Hosting now supporting VST3 plugins

Pyramix 11.1 now supports VST3 plugins:
The VST3 plugins are known for their technological and creative advancements. Users can now benefit from: Improved performance, Resizable edit windows (when the plugin supports it) and multiple dynamic I/O’s as VST3 plugins are no longer limited to a fixed number of inputs and outputs.

Mixer, VST routing view available in the Plugin user interface

This new feature allows specific multitrack routing within the desired VST and VS3 plugin. This allows e.g. in a 5.1 strip to affect a desired plugin only on Left, Right, LeftSr and RightSr without no effect on Center and LFE channel. The delay compensation is automatically compensated.

Support for EBU Audio Definition Model (ADM) metadata

Pyramix is a DAW ready for Object Based Audio (OBA), having multiformat busses from mono to all multibus standards (Dolby 7.1+4 or NHK 22.2 etc…) with up to 128 object busses. Before performing the mixdown, one will also add the metadata (such as languages, audio description channels etc) and generate the ADM BWF file containing all the metadata.

Support for generating MPEG-H Authoring Tool projects

Pyramix now supports ADM so Merging has worked with Fraunhofer to support its MPEG-H format. So that once the file is generated, as for ADM, the Fraunhofer authoring tool generates the MPEG-H file.

Packs Updated, Increased Output Bus Channel Count

Regarding Pyramix Native Essentials (MSP-NAT-ESS), not only did we massively reduce the price (see your Merging Sales Partner for details) of the entry-level Pyramix Essentials but also wanted to make it more palatable by including the following options right away in that basic version:

  • Remote Control (EMC: HUI / Oasis Econony Class)
  • Pow-r Redithering
  • Advanced Interchange (Sonic Solutions /OpenTL Import/FCP XML)

All new MSP-NAT-ESS keys generated after December 1st 2017 will include the above additional options. Existing MSP-NAT-ESS customers under current ASM are also eligible to have their keys enhanced accordingly upon demand.

And if that wasn't already enough improvement, instead of limiting the MSP-NAT-ESS to just stereo busses , we expand its functionality up to 5.1 busses , allowing basic Surround work, while making it also suitable for respectable Immersive projects by doubling its max. channel count from 24 to 48 (at 1FS).

It doesn't stop there however, as we also enhanced both Pyramix Native Standard (MSP-NAT-STD) and Pyramix MassCore Standard (MSP-MSC-STD) with following additional options:

  • Pow-r Redithering
  • DDP Creation
  • Advanced Interchange (Sonic Solutions /OpenTL Import/FCP XML)

While increasing their max. buss types from 5.1 to 7.1.

Pyramix Native Pro (MSP-NAT-PRO) also will see its max. buss type increased from 9.1 to 22.2 (will also be implemented and available as of the release of upcoming Pyramix V11.1 version)

See this for more details

Remote Controller Enhancements

Using a controller for Pyramix is an obvious way of working for some of our customers. They requested some more comprehensive and better integration, which we have implemented in Pyramix 11.1 with the following control devices:

  • From SSL: Nucleus 2
  • From AVID: PT Dock, S3 & S6

Please refer to our knowledge base for detailed information.

audio networking milestones

ANEMAN: Audio NEtwork MANager

ANEMAN is a powerful tool to discover, connect and monitor your audio network. It informs you when you can and cannot make connections, and even gives you the PTP status of each device. With the Sample Rate zone, you can now have multiple sets of devices on the network that will follow their own master’s Sample Rate.

Merging devices are not the only products compatible with ANEMAN. We already have many partners; Check for more information

AES67 support for Windows/ASIO

Our famous driver for ASIO has been enhanced and is now fully compatible with AES67 devices (48 frames).

RAVENNA/AES67 support for Linux/ALSA

Same quality driver as for macOS (Core Audio) and PC (ASIO), Merging is now launching a Linux driver for OEM.

multichannel immersive audio milestones

Multichannel timeline based advanced effects processing

Construct your own signal flow processing throughout your VST (VST3) and your VS3 plugins, from mono to any multichannel process. Apply it directly to the clip in the timeline while keeping the edits/fades (according to choice).

It is a TAB; it can be opened and processed while doing other operations. Save the configuration and the settings in a unique file for a total recall in this or another Pyramix 11 project.

b<>com plugin integration

Complete integration of the b<>com plugin range (VST based) for a truly immersive experience.
HOA Panner, Binauralizer are available plugins (among others). Those are not part of the generic installer of Pyramix 11, please refer to this documentation for more information.

3D panning remote control

Our Immersive 3D Panner can now be controlled by 3D connect devices for more info please refer to this documentation

platform updates milestones

Windows 10 support including Windows Creator

Pyramix 11 (and our new released software) is compatible with either the Windows10 Anniversary update or the Windows10 Creator update, while also maintaining the Windows 7 (64 bit) support.
Please look at system specification and installation guide for further information.

MassCore support for Windows 10/Creator

We also made our state of the art MassCore engine available to Win 10 Creator users with a new RTX. Please look at system specification and installation guide for further information

Last generation MacBookPro/Bootcamp support

We made some real life testing with the latest generation of MacBook Pro devices as it seems to be the preferred laptop for on location recordings. With Bootcamp and Win 10 Pyramix 11 NATIVE will work smoothly and trouble free.

New system specifications

As some major changes have been implemented in our engines, some new system specifications are available, please refer our guidelines:

users workflow optimizations

Application advancements
  • Automation TRIM revamp (fader set to 0dB)
  • Naming and numbering classification for inputs and outputs
  • Media Manager columns and per folder customisation
  • Album Publishing logfile availability
  • Optimized selection workflow
S3-S6 Controller enhanced integration

A first phase comes with Pyramix 11, many functions have been implemented, some more detailed enhancements will come in future releases

Blackmagic Design enhanced integration

Some deeper integration improving the chase and sync quality

Edit/Mix/Master During Record

Imagine being able to stop your timeline and let your recording continue. This simple difference from standard DAW recording allows users to play over material, scrub, edit, automate, render add and edit CD markers and generally treat the entire timeline as though it were filled with previously recorded sounds. This is an indispensable tool for almost every single Pyramix workflow.

Secure Recording Features

From automatic keyboard lockout for long uninterruptable takes (like a live concert such as The British Royal Wedding) to backup media paths for every recorder (allowing two distinct media sets to be created for each recording), Pyramix is the most trusted DAW when it comes to reliably capturing even the most critical of performances.

Ultra-Large Track Count Recordings

A single Pyramix MassCore system is capable of recording up to 384 discreet audio channels at once. This has huge implications at 44.1/48 kHz, but is even more interesting when samplerates start to increase.

  • 384 track recording @ 44.1 / 48 kHz
  • 192 track recording @ 88.2 / 96 kHz
  • 96 track recording @ 176.4 / 192 kHz
  • 64 track recording @ DXD / 384 kHz
  • 64 track recording @ DSD64 / DSD128 / DSD256
Interchange Format Support

If your sounds need to come from another workstation, then Pyramix offers a complete set of interchange format support. This ensures that no matter where your project is starting or finishing, you can use your Pyramix without fear of compatibility.

  • DAR Reel/Segments
  • Sonic Solutions
  • AES31
Timecode Gearboxing (Real Time Telecine)

Add video of a frame rate different to that of the Pyramix timeline and be confident you will always be in sync. The Merging Video Engine will add or remove frames when needed during playback to maintain a nominal playback speed regardless of what the frame rate mismatch is.

Advanced Editing for the Professional

Professional editors need an advanced and flexible toolset to be able to work at the pace that today's industry requires. Using Macro Editors, a tool-free editing paradigm and layers of keyboard assignable edit functions means that editors have everything they need to create the ultimate custom editor.

The First Real-Time Timeline

Most DAW's today can live up to what most consider to be a 'real-time' timeline. Adding Clip Gains, Envelopes and real-time fades are common nowadays. But, Pyramix also boasts the ability to be able to place any file (mixed samplerates, file types, bit depths, codecs and track widths) on a single timeline with no rendering required whatsoever.

Global Libraries

A combination of optimized sound effects search database, sound design edit storage, mixer parameter presets creator and inter-Pyramix sharing tool, the Global libraries are an essential part of Pyramix workflows. Users can drag and drop any information from a Pyramix project into a library and instantly share that info between projects and even between Pyramix systems residing on the same network! Included in the library is a comprehensive search tool with Boolean options.

The Fade Editor

Direct access to each fade in a project, allowing for sample accurate curve adjustment, in and out trimming and a slew of auditioning features means that even the most complex crossfades are easy to achieve. The Fade editor works on single track edits and any size of multi-track edit and is able to perform asymmetric crossfades with completely user definable custom curves.

Source and Destination Editing Model

Source and Destination editing might not be the most common of editing models, but it is by far one of the most powerful. When editing take after take of multi-channel performance, being able to quickly compile numerous 'source' takes into a destination timeline is incredibly powerful. If you are editing take-based recordings, source and destination will become indispensable the moment you begin to use it.

Time Compression/Expansion and Pitch Shift with ZTX Pro

When your media needs to be fit into a space it wasn't meant to, using Zynaptiq's ZTX Pro will get you closer to the original sound better than any other algorithm out there. Perform sample accurate pull up/down of an entire timeline, or manually adjust the pitch or length of any piece of media in your project with the best possible results using ZTX Pro. (PSP-MTD option required)

Import Single Clips Or Compositions

Import AAF, OMF, CMX EDL and FCP(7) XML directly to the timeline in their multi-layer state. Or simply drag and drop from the media manager, which now features a video preview window as well.

All the Tools a Mixer Needs

Pyramix features a comprehensive mixing interface with all the tools needed to make even the most complex of mixes come together. The mixer has VCAs, Subgroups, Multi-Mono, Multi-Stereo and Stem-Surround busses and Auxiliaries and includes VS3 and VST support along with a range of plugins covering any type of workflow. Pyramix even features over 23000ms of delay compensation to allow for almost limitless plugin use without any effect on timeline sync!

Automate like a Boss

Every single parameter of the Pyramix mixer can be automated with full control over touch, latch and isolate modes. Pyramix also offers a comprehensive Automation Versions window, which allows users to scroll through the automation history, even while in playback! Save automation versions for a single timeline, create easy to achieve A/B comparisons during listen-back sessions and generally be able to move through the automating of your project with ease.

Complete, in-the-box Monitoring

Multiple speaker sets, complete control over speaker mutes and phase, and a comprehensive talkback section are just a few of the features in the integrated monitor section. Also able to be addressed using any remote protocol makes this an indispensable tool for any mix room.

Professional Metering for Professional Users

The fully configurable peak meters on the mixer are just the beginning of what Pyramix users enjoy when keeping an eye on levels. Pyramix also includes a meter bridge with user definable VU and peak metering for all strips and busses. As well, the Final Check Metering tool allows users to simultaneously meter a stereo and surround buss of their choosing with a host of standards including VU, PPM, Intersample Peak, Loudness (LuFS), Phase / Spatialization. All of these standards can also be shown in a time-based graph, allowing users to simply and easily check the changes in each over any duration.

3D Workflows

Pyramix is now the first DAW on the planet to be able to natively mix and master to ANY speaker output layout. Anything from mono all the way to NHK 22.2 and far beyond is now possible without any additional plugins or tools.

Create Busses Of Any Size!

Configure your busses with literally any speaker layout you can think of. With presets covering every major standard as well as a custom configuration tool, you will always be ready to produce content in any format.

Some of the 3D workflows supported:

  • Auro 3D (9.1, 11.1, 13.1)
  • Dolby Atmos (Object & 9.1 Channel Bus routing)
  • DTS Neo:X
  • NHK 22.2
  • Many many more…
Control Them All With The New Panner

Once your busses are configured you will then use the new Strip Panner to position your sounds anywhere in the 3D space. By sending X/Y/Z positional information to each buss, you are then able to simultaneously control the panning to any number of busses at once… even if they have different speaker layouts!

Источник: []
, Total Recorder Editor Pro v11.5.1 serial key or number

13 of the Best FREE Audio Editors in 2020

It was a lonely quiet night. I hadn’t slept for 20 hours. My coffee was depleted and my energy even more so.

Despite this, I had just spent the last 3 hours of my life searching for an audio editor that would do what I needed.

I had over twenty different pieces of software that had audio editing capabilities. Yet none of them could perform the simple task that I wanted to carry out.

Eventually I found an application that did exactly what I wanted with minimal effort. To be frank, I was ecstatic.

That event inspired me to try out every free audio editor out there and compile this list.

If you are thinking about setting up your own home studio, and you want to start looking at the available free audio editing software out there, you are in the right place.


  • Which Audio Editor Do I Use?
  • Audacity (Windows, Mac, Linux)
  • ocenaudio (Windows, Mac, Linux)
  • Hya-Wave (Chrome)
  • WavePad (Windows, Mac, iPad, Android)
  • TwistedWave (web app, Mac, iPhone)
  • Wavosaur (Windows)
  • Soundation (web app)
  • Acoustica Basic (Windows)
  • Audio Cutter Pro (web app)
  • Nero Wave Editor (Windows)
  • WaveShop (Windows)
  • Qtractor (Linux)
  • Audio MP3 Cutter Mix Converter (Android)

But Gear isn’t Everything

Even if you have all the right software and tools, your music could still sound amateur.

That’s why Musician on a Mission has created this new free masterclass for people who want the entire framework for making radio-ready music at home.

Inside are the only 7 steps you need to go through if you want your mixes to sound professional.

So, if you just want a shortcut to pro-quality mixes, watch this free masterclass now:

But if you just want to learn all about audio editors specifically, keep reading.


Which Audio Editor Do I Use?

Audacity (Windows, Mac, Linux)

This is the godfather of free audio editing software. You can multi track to an extent (have more than just one stereo track e.g. a full band recording). There are a range of effects and plugins, and it’s easy to use once you get used to it. It’s by far the most popular free audio editing software. Volume automation is easy using the envelope. Deleting and muting sections of audio is also a breeze. Recording is easy too. Tip: Reset all the gain sliders if you want to do a gain staging/ track balancing. You might also like our post on how to eq vocals.

It does have its drawbacks though. The user interface is not particularly appealing, and there a lot of features that you’ll rarely use that clutter the tool bar.

It looks a bit ancient, but it gets the job done. This is an awesome starting point for anyone wanting a free editor.

Link: Audacity



ocenaudio (Windows, Mac, Linux)

This new simple audio editor has a clean and colourful user interface. It’s so easy to use! It’s fast and it’s lightweight compared to Audacity.

It’s bundled with loads of effects (including compression, EQ and reverb) that you can apply and tweak in real-time.

This is a huge benefit as most free editors are destructive (they record effects straight to the audio) so you have to rely on a ‘preview’ button. This is how Audactiy works, for example. But in ocenaudio you can play with the parameters of the effect and hear the changes instantly.

The editor has VST support so you can use your own plugins. It’s easy to record audio straight in to the software as well. There are lots of useful tools (such as a spectogram) for the more advanced user.

One downside of this software is that it only supports single stereo/mono files. You can’t have a multi-track session and record several instruments in your home studio and mix them. More on recording voice and mixing vocals here.

But for editing stereo music files, or mono audio files (such as a voice recording) this is awesome. It’s also relatively simple in terms of features compared to Audacity, although they aren’t trying to compete on that front.

Link: ocenaudio





Hya-Wave (Chrome)

This is a member of the new wave of online audio editors that run in your internet browser. And it’s my favourite of that bunch.

Released in January 2015, I only discovered this a few months ago. The interface is clean and user friendly and the learning curve is pretty much non-existent. Three cheers for simplicity!

It doesn’t support multi-tracking but you can copy, paste, cut, clear and crop your audio. You can load and save in the cloud, apply live effects and share to social media or via URL (take a listen to a song I applied some compression and a high-pass filter to here: )

Browser based DAWs could be the future of audio editing. There are several out there for music composition already and now more audio editors are appearing too. Click here to see how to master a song at home.

This is ideal if you are recording or editing on the fly and don’t want to install large programme on to your laptop.

Link: Hya-Wave




WavePad (Windows, Mac, iPad, Android)

A slightly older DAW, but still highly useful. The interface may not be as sleek as some of the editors listed here, but it makes up for this in features.

It’s easy to install and easy to use. There are lots of bundled effects including noise removal, compression and reverb. There are also some great analysis tools for more advanced users. Reverse reverb: here’s how to create this cool trick.

Pitch and speed changes are possible. So is audio scrubbing, which can be very handy. It doesn’t support multi-tracking so you can only edit stereo or mono audio files.

My absolute favourite feature of this software is the batch processing (which I discussed in the introduction). You can apply compression, reverb, EQ or any effect to a number of audio files at once. This can save you HOURS in the right situation.

Link: WavePad



TwistedWave (web app, Mac, iPhone)

Another awesome online web application for editing sound. Again, it can’t multi-track, but it makes up for this with usability and features.

It’s easy to normnalize your audio and the effects are easy to apply.

Quick tip: like a lot of audio editing software, if you delete a section of audio the rest will ‘shuffle’ back so that there aren’t any gaps. If you want to remove noise without shuffling the audio, you need to ‘mute’ or ‘silence’ the section with noise.

In TwistedWave you can do this easily by highlighting the section of audio that you want to mute and hitting ‘s’ on your keyboard!

Link: TwistedWave


Wavosaur (Windows)

This one is a bit ancient. Dinosaur… Wavosaur… get it?!

It’s looks like the missing link in the evolutionary chain between tape cutting (prime apes) and modern best DAWs (humans).

Joking aside, this application may be basic, but it works. The download is only 1.3MB. Now that is small!

And it’s not that old. The latest version was released in 2013. It’s a good piece of classic Windows music production software. No frilly bits, no messing about. Straight to the point.

It supports VSTs but doesn’t come with any. If you want to apply effects you’ll need your own. There are loads of great analysis tools and volume automation is easy.

It’s very basic and doesn’t look great. But if you just want to get the job done without downloading a huge application, it’s perfect.

Link: Wavosaur




Soundation (web app)

This is a great online application that also functions as a multi-track DAW. This means you can have several audio tracks playing at once.

The interface is attractive. It’s easy to record. Volume and pan automation are easy to perform. You can change the color of the tracks to keep them more organised. Time stretching is also supported and there are a range of effects and plugins.

There is an awesome looping feature reminiscent of Logic Pro. This application is geared just as much to music composition and arrangement as audio editing.

Yet this may be it’s downfall when considered an audio editor – it’s features and workflow are perhaps better suited to arranging music.

Link: Soundation


Acoustica Basic (Windows)

Easy to set up a project and start recording. It has a scrub tool which can be extremely useful! Unfortunately the basic edition does not support multi-tracking but there are some great analysis tools.

This is also the only free audio editor that I have come across that comes with a convolution reverb (a special type of digital reverb you can use to semi-accurately model any room). You have to use your own impulse files though.

Link: Acoustica Audio Editor



Audio Cutter Pro (web app)

If you just need to crop some tracks and add some fades, this tool is perfect. It’s simple, the interface is great and the keyboard controls are intuitive.

You can also import files from Dropbox or Google Drive so it fit’s in perfectly with cloud based storage.

Link: Audio Cutter Pro



Nero Wave Editor (Windows)

Another simple and free audio editor. There’s nothing particularly special about this one, but it will meet basic audio editing needs.

You can apply effects non-destructively which is pretty useful. You can also create your own presets.

Link: Nero Wave Editor




WaveShop (Windows)

WaveShop supports multi-channel audio (up to 18 outputs) which could be useful in the right situation. It also claims to be ‘bit-perfect’, so samples aren’t changed needlessly.

I can’t think of any more reasons why you would want to use this over any of the other editors listed here. But it’s worth taking a look if you want a simple Windows application for basic audio editing.

Link: WaveShop



Qtractor (Linux)

A colourful and sleek UI, multi-track support and even a mixer! This one is perfect for Linux users.

Unfortunately I don’t have anything running Linux so I can’t give this a try myself. It has some great reviews though.

Link: Qtractor



Audio MP3 Cutter Mix Converter (Android)

If you need to make edits on the move, check out this Android app.

It has over 1 million downloads, 55,000 ratings and a range of features.

Link: Audio MP3 Cutter Mix Converter



You can Make Great Music at Home

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There is SO MUCH that goes into a good song and a professional mix. It’s actually pretty overwhelming.

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So, what should you focus on if you want fast results?

Inside this new free masterclass, you’ll learn the secret to making radio-ready music at home.

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Источник: []
Total Recorder Editor Pro v11.5.1 serial key or number

Pro Tools

Digital audio workstation
Original author(s)Evan Brooks
Peter Gotcher
Developer(s)Digidesign (now merged into Avid)
Initial releaseJanuary 20, 1989; 31 years ago (1989-01-20)
Stable release
Pro Tools 2020.9.1 / September 9, 2020; 15 days ago (2020-09-09)
Written inC, C++, Assembly
Operating systemmacOS, Windows
Available in8 languages
TypeDigital Audio Workstation

Pro Tools is a digital audio workstation developed and released by Avid Technology (formerly Digidesign)[1] for Microsoft Windows and macOS[2] used for music creation and production, sound for picture (sound design, audio post-production and mixing)[3] and, more generally, sound recording, editing and mastering processes.

Pro Tools operates both as standalone software and in conjunction with a range of external analog-to-digital converters and PCIe cards with on-board digital signal processors (DSP). The DSP is used to provide additional processing power to the host computer for processing real-time effects, such as reverb, equalization and compression[4] and to obtain lower latency audio performance.[5] 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[6] and non-destructive editing (most of audio handling is done without overwriting the source files), track compositing with multiple playlists,[7]time compression and expansion, and faster-than-realtime mixdown.

Audio, MIDI and video tracks are graphically represented in a timeline. Audio effects, virtual instruments and hardware emulators—such as microphone preamps or guitar amplifiers—can be added, adjusted and processed in real-time in a virtual mixer. 16-bit, 24-bit, and 32-bitfloat audio bit depths at sample rates up to 192 kHz are supported. Pro Tools supports mixed bit depths and audio formats in a session: BWF/WAV (including WAVE Extensible, RF64 and BW64) and AIFF; it also imports MXF, ACID and REX files, the lossy formats mp3, aac, m4a and audio from video files (mov).[8] The legacy SDII format was dropped with Pro Tools 10,[9] although SDII conversion is still possible on macOS.[8]

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 automation; supports mixing in surround sound, Dolby Atmos and VR sound using Ambisonics.[10]

The Pro Tools TDM mix engine, supported until 2011 with version 10, employed 24-bitfixed-point arithmetic for plug-in processing and 48-bit for mixing. Current HDX hardware systems, HD Native and native systems use 32-bitfloating point resolution for plug-ins and 64-bit floating point summing;[4] the software and the audio engine were adapted to 64-bit architecture from version 11.[11]


1985Sound Designer
1987Sound Designer Universal (1.5)
1989Sound Tools
Sound Designer II
1991Pro Tools
1992Sound Tools II
1993Pro Tools II
1994Pro Tools TDM
Pro Tools III
1996Pro Tools PCI
1997Pro Tools 4
Pro Tools | 24
1998Pro Tools | 24 MIX
1999Pro Tools 5
Pro Tools LE
2001Pro Tools Free
2002Pro Tools | HD
2003Pro Tools 6
2005Pro Tools 7
2008Pro Tools 8
2010Pro Tools 9
2011Pro Tools | HDX
Pro Tools 10
2013Pro Tools 11
2015Pro Tools 12
Pro Tools | First
2018Pro Tools 2018+

The beginnings: Digidrums (1983–1985)[edit]

Pro Tools was developed by UC Berkeley graduates Evan Brooks, who majored in electrical engineering and computer science, and Peter Gotcher.[12]

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 Drumulatordrum machine to create EPROM sound replacement chips. The Drumulator was quite popular at that time, although it was limited to its built-in samples.[13]

They started selling the upgrade chips one year later under their new Digidrums label.[14] Five different upgrade chips were available, offering different alternate drum styles. The chips, easily switchable with the original ones, enjoyed great success between the Drumulator users, selling 60,000 units overall.[15]

Digidesign Sound Designer (1985–1989)[edit]

When Apple released its first Macintosh computer in 1984, the pair thought to develop a more functional and flexible solution which could take advantage of a graphical interface.[16] In collaboration with E-Mu, they developed a Mac-based visual sample editing system for the Emulator II keyboard, called Sound Designer, released under the Digidesign brand[17] and inspired to the interface of the Fairlight CMI.[18] This system, the first ancestor of Pro Tools, was released in 1985 at the price of US$995.[13]

Brooks and Gotcher rapidly ported Sound Designer to many other sampling keyboards, such as E-mu Emax, Akai S900, Sequential Prophet 2000, Korg DSS-1 and Ensoniq Mirage.[18] Thanks to the universal file specification subsequently developed by Brooks with version 1.5,[18] Sound Designer files could be transferred via MIDI between sampling keyboards of different manufacturers.[19] This universal file specification, along with the printed source code to a 68000 assembly language interrupt driven MIDI driver, were distributed through Macintosh MIDI interface manufacturer Assimilation, which manufactured the first MIDI interface for the Mac in 1985.

Starting from the same year, a dial-up service provided by Beaverton Digital Systems, called MacMusic, allowed Sound Designer users to download and install the entire Emulator II sound library to other less expensive samplers: sample libraries could be shared across different manufacturers platforms without copyright infringement. MacMusic contributed to Sound Designer success by leveraging both the universal file format and by developing the first online sample file download site in the world, many years before the World Wide Web use soared. The service used 2400-baud modems and 100 MB of disk with Red Ryder host on a 1 MB Macintosh Plus.[18]

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 possibility 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 their 56K series of digital signal processors, invited the two to participate to 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.[16]

Digidesign Sound Tools and Sound Designer II software (1989–1990)[edit]

The combination of the hardware and the software was called Sound Tools. Advertised as the "first tapeless studio",[16] it was presented on January 20, 1989 at the NAMM annual convention. The system relied on a NuBus card called Sound Accelerator, equipped with one Motorola 56001 processor. The card provided 16-bit playback and recording at 44.1/48 kHz sample rates through a two-channel A/D converter (AD In), while the DSP handled signal processing, which included a ten-band graphic equalizer, a parametric equalizer, time stretching with pitch preservation, fade-in/fade-out envelopes and crossfades ("merging") between two sound files.[20][21]

Sound Tools was bundled with Sound Designer II software, which was, at this time, a simple mono or stereo audio editor running on Mac SE or Mac II; digital audio acquisition from DAT was also possible.[22] 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.[1]

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. Hard drives were used to stream audio and non-destructive editing and the software was still limited by their performance, so densely edited tracks could cause glitches.[23] 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)[edit]

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.[24] 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 EQ, 1-band EQ with delay, 1-band EQ with chorus, delay with chorus).[25]

The first Pro Tools system launched on June 5, 1991. It was based on an adapted version of Deck ("ProDeck") along with Digidesign's new editing software, "ProEdit"; Sound Designer II was still supplied for two-channel editing.[26] Pro Tools relied on Digidesign's Audiomedia card, mounting one Motorola 56001 processor[27] with a clock rate of 22.58 MHz[28] and offering two analog and two digital channels of I/O, and on the Sound Accelerator card. External synchronisation with audio and video tape machines was possible with SMPTE timecode and the Video Slave drivers.[26] The complete system was selling for US$6,000.[29]

Sound Tools II was launched in 1992 with a new DSP card, along with the Pro Master 20 interface, providing 20-bit A/D conversion,[26] and the Audiomedia II card, with one Motorola 56001 processor running at 33.86 MHz and improved digital converters.[30]

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 multi-channel audio interfaces) and was selling for US$399.[31][24]

Peter Gotcher felt that the software needed a major rewrite. Pro Tools II, the first software release fully developed by Digidesign, followed in the same year and addressed the weaknesses of its predecessor.[15] The editor and the mixer were merged into a single application, while a specific software, the Digidesign Audio Engine (DAE), was provided as a separate application to favor hardware support from third-party developers, enabling the use of Pro Tools hardware and plugins on other DAWs.[13] Selling more than 8,000 systems worldwide, Pro Tools II became the best selling digital audio workstation.[15]

Pro Tools II TDM: 16 tracks and real-time plug-ins (1994)[edit]

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.[32] 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.[26]

In the same year, it was announced that Digidesign would have merged into the American multimedia company Avid,[33] 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.[32]

Pro Tools III: 48 tracks, DSP Farm cards and switch to PCI cards (1995–1997)[edit]

With a redesigned Disk I/O card, Pro Tools III was able to provide 16 tracks with a single NuBus card;[34] the system could be expanded using TDM to up to three Disk I/O cards, achieving 48 tracks.[32] To increase the processing power needed for a more extensive real-time audio processing, DSP Farm cards were introduced, each equipped with three Motorola 56001 chips running at 40 MHz;[35] multiple DSP cards could be added for additional processing power (each card could handle the playback of 16 tracks).[27] A dedicated SCSI card was still required to provide the required bandwidth to support multiple-card systems.[34]

With the launch of Pro Tools III, Digidesign launched the 888 interface, with eight channels of analog and digital I/O, and the cheaper 882 interface.[34] The Session 8 system included a control surface with eight faders.[36] A series of TDM plug-ins were bundled with the software, including dynamics processing, EQ, delay, modulation and reverb.[32]

In 1996, following Apple's decision to drop NuBus in favor of PCI bus, Digidesign added PCI support with the release of Pro Tools 3.21. The PCI version of the Disk I/O card incorporated a high-speed SCSI interface along with DSP chips,[34] while the upgraded DSP Farm PCI card included four Motorola 56002 chips running at 66 MHz.[37]

This change of architecture allowed convergence of Macintosh computers with Intel-based PCs, for which PCI had become the standard internal communication bus.[27] With the PCI version of Digidesign's Audiomedia card in 1997 (Audiomedia III),[38] Sound Tools and Pro Tools could be run on Windows platforms for the first time.[27]

24-bit audio and surround mixing: Pro Tools | 24 and Pro Tools | 24 MIX (1997–2002)[edit]

With the release of Pro Tools | 24 in 1997, a new 24-bit interface (the 888|24) and a new PCI card (the d24) were introduced. The d24 was based on Motorola 56301 processors, offering increased processing power and 24 tracks of 24-bit audio,[39] later increased to 32 tracks with a DAE software update. To keep up with the increased data throughput, a SCSI accelerator was needed. The proprietary Digidesign SCSI controller was dropped in favor of commercially available ones.[32]

64 tracks with dual d24 support were introduced with Pro Tools 4.1.1 in 1998,[40] 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.[32]

Pro Tools 5 saw two important software developments: extended MIDI functionality and integration in 1999 (an editable piano-roll view in the editor; MIDI automation, quantize and transpose)[32] and the introduction of surround sound mixing and multichannel plug-ins—up to the 7.1 format—with Pro Tools TDM 5.1[41] in 2001.[40]

It was at this point that the migration from traditional, tape-based analog studio technology to the Pro Tools platform took place within the industry.[16]Ricky Martin's "Livin' la Vida Loca" (1999) was the first Billboard Hot 100 number-one single to be recorded, edited, and mixed fully within the Pro Tools environment,[42] allowing a simpler and meticulous editing workflow (especially on vocals).[43]

While consolidating its presence in professional studios, Digidesign began to target the mid-range consumer market in 1999 with the introduction of the Digi001 bundle, consisting in a rack-mount audio interface with eight inputs and outputs with 24-bit, 44.1/48 kHz capability and MIDI connections. The package was distributed with Pro Tools LE, a specific version of the software without DSP support, limited to 24 mixing tracks.[13]

High-resolution audio and consolidation of digital recording and mixing: Pro Tools | HD (2002–2011)[edit]

Following the launch of 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 192 kHz or 96 kHz sample rates (HD 192 and 96, replacing 888 and 882), along with a new version of the software (Pro Tools 6) with new features and a redesigned GUI, developed for OS X and Windows XP.[44] 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.[16]

Both HD Core and Process cards mounted nine Motorola 56361 chips running at 100 MHz, each providing 25% more processing power than the Motorola 56301 chips mounted on MIX cards; this translated in about twice the power for a single card. A system could combine one HD Core card with up to two HD Process cards, supporting playback for 96/48/12 tracks at 48/96/192 kHz sample rates (with a single HD Core card installed) and 128/64/24 tracks at 48/96/192 kHz sample rates (with one or two HD Process cards).[45]

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 also slightly changed the combination of chips. HD Process cards were replaced with HD Accel, each mounting nine Motorola 56321 chips running at 200 MHz and each providing twice the power than a HD Process card; track count for systems mounting an HD Accel was extended to 192/96/36 tracks at 48/96/192 kHz sample rates.[46] 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 very low latency.[5]

Through the decade, Pro Tools, offering a solid and reliable alternative to analog recording and mixing, eventually became a standard in professional studios, while editing features such as Beat Detective (introduced with Pro Tools 5.1 in 2001)[41] and Elastic Audio (introduced with Pro Tools 7.4 in 2007)[47] redefined the workflow adopted in contemporary music production.[13]

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;[44] Automatic plug-in Delay Compensation (ADC), introduced with Pro Tools 6.4 in 2004 and only available with TDM systems with HD Accel;[48] a new implementation of RTAS with multi-threading support and improved performance, Region groups, Instrument tracks and real-time MIDI processing, introduced with Pro Tools 7 in 2006;[49] VCA and volume trim, introduced with Pro Tools 7.2 in 2006;[50] support for 10 track inserts, MIDI Editor and MIDI Score, introduced with Pro Tools 8 in 2009.[51]

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

Native systems: Pro Tools LE and Pro Tools M-Powered[edit]

Pro Tools LE, first introduced and distributed in 1999 with the Digi 001 interface,[52] 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 run on Pro Tools LE, included in-box DSP processing via a 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[44] and to 48 tracks with Pro Tools 8)[53] and supported a maximum sample rate of 96 kHz[54] (depending on the interface used). Some advanced software features, such Automatic Delay Compensation, surround mixing, multi-track Beat Detective, OMF/AAF support and SMPTE Timecode were not included. 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".[55] The "Complete Production Toolkit", introduced with Pro Tools 8, added support for surround mixing and for 128 tracks (while still being limited to 128 voices).[53]

With the acquisition of M-Audio in 2004–2005, Digidesign released a specific variant of Pro Tools, called M-Powered, which was equivalent to Pro Tools LE and could be run with M-Audio interfaces.[56]

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

Advanced Instrument Research (AIR): built-in virtual instruments and plug-ins[edit]

In response to Apple's decision to include Emagic's complete line of virtual instruments in Logic Pro in 2004, and following 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.[53] An expansion was also available, called AIR Complete Collection.

AIR Creative Collection
Structure Free sampler with basic library
Boom electronic drum machine
Vacuum virtual subtractive-style synthesizer
Mini Grand sampled acoustic piano
DB33 sampled Hammond B3 organ
Xpand!2 synthesis and sample-based library
AIR Complete Collection
Structure sampler with full library
Strike virtual drummer
Hybrid virtual subtractive synthesizer
Velvet sampled classic electric pianos
Transfuser real-time loop manipulation tool

Pro Tools 9: hardware-independent native systems (2010–present)[edit]

Pro Tools 9, released on November 4, 2010, was the first version not requiring proprietary hardware, allowing use of the software with any interface. It could operate using the internal sound card of a PC via the ASIO driver and a Mac using Core Audio. Core Audio also allowed, for the first time, the use of aggregate devices, allowing the use of more than one interface at the same time. This could also be achieved on a PC by using any ASIO free anternatives. Some of the most advanced features of Pro Tools | HD software, such as automatic plug-in delay compensation, OMF/AAF file import, Timecode ruler and multitrack Beat Detective were included into the standard version of Pro Tools 9.[57]

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, with a smaller track count and a number of advanced features turned off.

Pro Tools | HDX (2011–present)[edit]

A new series of DSP PCIe cards, named HDX, was introduced in October 2011 along with Pro Tools 10. The new DSP processors, manufactured by Texas Instruments, allowed an increased computational precision (32-bitfloating point resolution for plug-ins, instead of 24-bitfixed-point of TDM systems, and 64-bit floating point summing versus the previous 48-bit fixed),[4] thus improving dynamic range performance. Track playback and signal processing operations were managed independently by the processors; they also provided lower monitoring latency and more computational power.

The hardware line included HDX, relying on dedicated DSP and obtaining considerably lower latency for all DSP-reliant operations, and HD Native, relying on the host system's CPU for all audio processing. In order to maintain performance consistency, HDX products were specified with a fixed maximum number of voices (each voice representing a monophonic channel). Each HDX card enabled 256 simultaneous voices at 44.1/48 kHz; voice count halved when the sample rate doubled (128 voices at 88.2/96 kHz, 64 voices at 176.4/192 kHz). Up to three HDX cards could be installed on a single system for a maximum of 768/384/192 total voices and for increased processing power. On Native systems, voice count was limited to 96/48/24 voices with the standard version of Pro Tools, and to 256/128/64 voices with Pro Tools HD software.[4]

With Pro Tools 10, a new plug-in format was deployed for both Native and HDX systems, called AAX (acronym for Avid Audio eXtension).[58] 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 plugins, although 32-bit versions of AAX were still used in Pro Tools 10. TDM support was dropped with HDX,[59] 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 plugin (based on Euphonix System 5 console's channel strip, following Avid's acquisition of Euphonix in 2010).[60][41]

Switch to 64-bit architecture: Pro Tools 11 (2013–present)[edit]


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

Workflow in Pro Tools 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.[62] Different window layouts, along with shown and hidden tracks and their width settings, can be stored and recalled from the Window configuration list.[63]


The timeline provides a graphical representation of all types of tracks: the audio envelope or waveform (when zoomed in) for audio tracks, a piano roll showing MIDI notes and controller values for MIDI and Instrument tracks, a sequence of frame thumbnails for video tracks, audio levels for auxiliary, master and VCA master tracks.[64] 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.[65] All the mixer parameters (such as track and sends volume, pan and mute status) and plug-in parameters can be changed over time through automation.[66] Any automation type can be shown and edited in multiple lanes for each track.[67] Track-based volume automation can be converted to clip-based automation and vice versa;[68] automation of any type can also be copied and pasted to any other automation type.[69]

Tempo and meter changes can be programmed on the timeline; 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 in order to allow time stretching of audio clips.[70]


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).[71]Time stretching (TCE), pitch shifting, equalization and dynamics processing can be applied to audio clips non-destructively and in real-time with Elastic Audio[72] and Clip Effects;[73] gain can be adjusted statically or dynamically on individual clips with Clip Gain;[74] fade and crossfades can be applied, adjusted and are processed in real time. All other type of audio processing can be rendered on the timeline with the AudioSuite (non-real-time) version of AAX plug-ins.[75]

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.[76] MIDI tracks can also be shown in musical notation within a score editor.[77] 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.[78]

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 at once is provided in a separate window or can be viewed full-screen.[79]


The virtual mixer shows controls and components of all tracks, including inserts, sends, input and output assignments, automation read/write controls, panning, solo/mute buttons, arm record buttons, the volume fader, the level meter and the track name. It also can show additional controls for the inserted virtual instrument, mic preamp gain, HEAT settings, and the EQ curve for each track.[80] Each track inputs and outputs can have different channel depths: mono, stereo, multichannel (LCR, LCRS, Quad, 5.0/5.1, 6.0/6.1, 7.0/7.1); Dolby Atmos and Ambisonics formats are also available for mixing.[81]

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.[82] Virtual instruments are loaded on Instrument tracks—a specific type of track which receives MIDI data in input and returns audio in output.[83]

Plug-ins are processed in real-time with dedicated DSP chips (AAX DSP format) or using the host computer's CPU (AAX Native format).[84]

Track rendering[edit]

Audio, auxiliary and Instrument tracks (or MIDI tracks routed to a virtual instrument plug-in) can be committed to new tracks containing their rendered output. Virtual instruments can be committed to audio to prepare an arrangement project for mixing; track commit is also used to free up system resources during mixing, or when the session is shared with systems not having some plug-ins installed. Multiple tracks can be rendered at a time; it is also possible to render a specific timeline selection and define which range of inserts to render.[85]

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 be subsequently unfrozen if further adjustments are needed. For example, virtual instruments can be frozen to free up system memory and improve performance, while keeping the possibility to unfreeze them to make changes to the arrangement.[86]


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-realtime). 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. Multiple sources can also mixed down simultaneously—for example, to deliver audio stems.[87]

Audio and video can be bounced together to a QuickTime movie file.[88]

Session data exchange[edit]

Session data can be partially or entirely exchanged with other DAWs or video editing software that support AAF, OMF, or MXF. AAF and OMF sequences embed audio and video files with their metadata; when opened by the destination application, session structure is rebuilt with the original clip placement, edits and basic track and clip automation.[89]

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).[90] 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.[91]

Cloud collaboration[edit]

Pro Tools projects can be synchronized to the Avid Cloud and shared with other users on a track-by-track basis. Different users can work on the project simultaneously and upload new tracks or any changes to existing tracks (such as audio and MIDI clips, automation, inserted plug-ins, and mixer status) or changes to the project structure (such as tempo, meter or key).[92]

Field recorder workflows[edit]

Pro Tools reads embedded metadata in media files to manage multichannel recordings made by field recorders in production sound. All stored metadata (such as scene and take numbers, tape or sound roll name, or production comments) can be accessed in the Workspace browser.[93]

Analogous audio clips are identified by overlapping longitudinal timecode (LTC) and by one or more user-defined criteria (such as matching file length, file name, or scene and take numbers). An audio segment can be replaced from matching channels (for example, to replace audio from a boom microphone with the audio from a lavalier microphone) while maintaining edits and fades in the timeline, or any matching channels can be added to new tracks.[94]

Multi-system linking and device synchronization[edit]

Up to twelve Pro Tools Ultimate systems with dedicated hardware can be linked together over an Ethernet network—for example, in multi-user mixing environments where different mix components (such as dialog, ADR, effects, and music) reside on different systems, or if a larger track count or processing power is needed. Transport, solo and mute are controlled by a single system and with a single control surface.[95] One system can also be designated for video playback to optimize performance.[96] Pro Tools can synchronized to external devices using SMPTE/EBU timecode or MIDI timecode.[97]


Pro Tools software is available in a standard edition (informally called "Vanilla")[98] providing all the key features for audio mixing and post-production, a complete edition (officially called "Ultimate" and known as "HD" between 2002 and 2018), which unlocks functionality for advanced workflows and a higher track count, and a starter edition, called "First", providing the essential features.

Pro Tools | First Pro Tools Pro Tools | Ultimate
License type Free Paid (Perpetual/Subsciption)
Price of perpetual licenses[102]US$599 US$2599
Maximum voices, tracks and hardware inputs
(48 / 96 / 192 kHz)
16 / 16 / –
(mono or stereo tracks)
128 / 64 / 32
(mono or stereo tracks)
384 / 192 / 96 (Native)
786 / 384 / 192 (HDX)
I/O channels 4 32 192
MIDI tracks 16 1024
Instrument tracks 16 512
Auxiliary tracks 16 128 512
Video tracks 1 64
Bit depth, Sample rate 32-bit float, 96 kHz 32-bit float, 192 kHz
Production tools
Editing tools Basic Standard Advanced
MIDI editor, Elastic Audio,
Elastic Pitch, Track presets
Yes Yes Yes
Score editor, Beat Detective,
Input monitoring, Clip gain
No Yes Yes
Clip effects No Read-only Full
Batch Track/Clip rename No Yes Yes
Video editing tools No No Yes
Mixing tools
Mixing output Stereo Stereo Up to 7.1.2 surround
Automation Standard Standard Advanced
Plug-in delay compensation,
Offline bounce, Track freeze
Yes Yes Yes
VCA, AFL/PFL solo path,
Timecode, Advanced metering
No Yes Yes
Dolby Atmos, Ambisonics VR
and surround mixing
No No Yes
HEAT No No Yes (Paid)
Program features
Cloud collaboration Yes (includes 1 GB of free storage space)
AAF / OMF / MXF file support No Yes Yes
Session data importing No Yes Yes
Disk cache No Yes Yes
Satellite link
(sync up to 12 systems)
No No Yes

Control surfaces[edit]

In mid 1990s, Digidesign started working on a studio device which could replace classic analog consoles and provide integration with Pro Tools. ProControl (1998) was the first Digidesign control surface, providing motorised, 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.[32]

Control 24 (2001) added 5.1 monitoring support and included 16 class A preamps designed by Focusrite. Icon D-Control (2004) incorporated an HD Accel system and was developed for larger TV and film productions in mind. Command|8 (2004) and D-Command (2005) were the smaller counterparts of Control 24 and D-Control, connected with the host computer via USB; Venue (2005) was a similar system specifically designed for live sound applications.[41]

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.[41]

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. The Avid S6 (2013) and Avid S3 (2014) control surfaces followed merging the Icon and System 5 series. Pro Tools Dock (2015) was a iPad-based control surface running Pro Tools Control software.[103]

Timeline of Pro Tools hardware and software[edit]

Year Software Hardware Release information
1985 Sound Designer Macintosh-based visual sample editing software developed for the E-Mu Emulator II sampler
dedicated ports of the original software were subsequently released for Emax, Prophet 2000, S900, DSS-1 and Mirage samplers[18]
1987 Sound Designer 1.5 Sound Accelerator universal version with enhanced editing features through the Mac's hardware (mix, crossfade, gain and equalization) and supporting a variety of samplers
compatible with Sound AcceleratorNuBus card, equipped with one Motorola 56001 chip, providing dedicated DSP hardware[18]
1989 Sound Tools stereo hard-disk recording and editing system with 16-bit audio, 44.1 kHz or 48 kHz sample rate adopting the SDII proprietary audio format[104]
relies on a Sound AcceleratorNuBus card connected to an external 2-channel AD converter and Sound Designer II software running on Macintosh SE and Mac II[1]
Sound Designer II Sound Accelerator
Audiomedia I
1991 Pro Tools Mac-based 4-track digital production system handled by ProEdit (editing software) and ProDeck (mixing software)
MIDI sequencing and automation[104][26]
1992 Pro Tools 1.1 4–16 voices support in mixing using up to 4 cards/interfaces[104]
Sound Tools II support for Pro Master 20 interface with 20-bit A/D conversion[26]
1993 Pro Tools II editing and mixing software merged in a single application called Pro Tools with the component DAE (Digidesign Audio Engine)
4 voices support[26][40]
Audiomedia II
1994 Pro Tools II TDM (2.5) TDM technology enables real-time effects to run as software plug-ins; up to 4 NuBus cards can be linked together[26][40]
Pro Tools III 16–48 voices on NuBus-based Mac systems (up to 3 cards linkable)[34]
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What’s New in the Total Recorder Editor Pro v11.5.1 serial key or number?

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System Requirements for Total Recorder Editor Pro v11.5.1 serial key or number

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