Pro Tools: Сандық аудио жұмыс станциясы

Digital audio workstation

Pro Tools is a digital audio workstation (DAW) developed and released by Avid Technology (formerly Digidesign) for Microsoft Windows and macOS. It is used for music creation and production, sound for picture (sound design, audio post production and mixing) and, more generally, sound recording, editing, and mastering processes. Pro Tools operates both as standalone software and in conjunction with a range of external analog to digital converters and PCIe 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 and to obtain lower latency audio performance. Like all digital audio workstation software, Pro Tools can perform the functions of a multitrack tape recorder and a mixing console along with additional features that can only be performed in the digital domain, such as non linear and non destructive editing (most of audio handling is done without overwriting the source files), track compositing with multiple playlists, time compression and expansion, pitch shifting, and faster than real time mixdown. Audio, MIDI, and video tracks are graphically represented on a timeline. Audio effects, virtual instruments, and hardware emulators—such as microphone preamps or guitar amplifiers—can be added, adjusted, and processed in real time in a virtual mixer. 16 bit, 24 bit, and 32 bit float audio bit depths at 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 imports and exports MOV video files and ADM BWF files (audio files with Dolby Atmos metadata); it also imports MXF, ACID and REX files and the lossy formats MP3, AAC, M4A, and audio from video files (MOV, MP4, M4V). The legacy SDII format was dropped with Pro Tools 10, although SDII conversion is still possible on macOS. Pro Tools has incorporated video editing capabilities, so users can import and manipulate 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. The Pro Tools TDM mix engine, supported until 2011 with version 10, employed 24 bit fixed point arithmetic for plug in processing and 48 bit for mixing. Current HDX hardware systems, HD Native and native systems use 32 bit floating point resolution for plug ins and 64 bit floating point summing. Later in 2022, Avid launched a free version: Pro Tools Intro.

Pro Tools was developed by UC Berkeley graduates Evan Brooks, who majored in electrical engineering and computer science, and Peter Gotcher. In 1983, the two friends, sharing an interest in music and electronic and software engineering, decided to study the memory mapping of the newly released E mu Drumulator drum machine to create EPROM sound replacement chips. The Drumulator was quite popular at that time, although it was limited to its built in samples. They started selling the upgrade chips one year later under their new Digidrums label. Five different upgrade chips were available, offering different alternate drum styles. The chips, easily switchable with the original ones, enjoyed remarkable success between the Drumulator users, selling 60,000 units overall.

When Apple released its first Macintosh computer in 1984, the pair thought to design a more functional and flexible solution which could take advantage of a graphical interface. 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 and inspired by the interface of the Fairlight CMI. This system, the first ancestor of Pro Tools, was released in 1985 at the price of US$995. This universal file specification, along with the printed source code to a 68000 assembly language interrupt driven MIDI driver, was distributed through Macintosh MIDI interface manufacturer Assimilation, which manufactured the first MIDI interface for the Mac in 1985. Starting from the same year, a dial up service provided by Beaverton Digital Systems, called MacMusic, allowed Sound Designer users to download and install the entire Emulator II sound library to other less expensive samplers: sample libraries could be shared across different manufacturers platforms without copyright infringement. MacMusic contributed to Sound Designer's success by leveraging both the universal file format and developing the first online sample file download site globally, many years before the World Wide Web use soared. The service used 2400 baud modems and 100 MB of disk space with Red Ryder host on a 1 MB Macintosh Plus. 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. A two channel digital interface (DAT I/O) with AES/EBU and S/PDIF connections was made available later in 1989, while the Pro I/O interface came out in 1990 with 18 bit converters. The file format used by Sound Designer II (SDII) became eventually a standard for digital audio file exchange until the WAV file format took over a decade later. Since audio streaming and non destructive editing were performed on hard drives, the software was still limited by their performance; densely edited tracks could cause glitches. However, the rapidly evolving computer technology allowed developments towards a multi track sequencer.

The 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. 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, 1 band EQ with chorus, delay with chorus). The first Pro Tools system was launched on June 5, 1991. It was based on an adapted version of Deck (ProDeck) along with Digidesign's new editing software, ProEdit, created by Mark Jeffery; Sound Designer II was still supplied for two channel editing. Pro Tools relied on Digidesign's Audiomedia card, mounting one Motorola 56001 processor with a clock rate of 22.58 MHz and offering two analog and two digital channels of I/O, and on the Sound Accelerator card. External synchronization with audio and video tape machines was possible with SMPTE timecode and the Video Slave drivers. The complete system was selling for US$6,000. Sound Tools II was launched in 1992 with a new DSP card. Two interfaces were also released: Pro Master 20, providing 20 bit A/D conversion, and Audiomedia II, with improved digital converters and one Motorola 56001 processor running at 33.86 MHz. In 1993, Josh Rosen, Mats Myrberg and John Dalton, the OSC's engineers who developed Deck, split from Digidesign to focus on releasing lower cost multi track software that would run on computers with no additional hardware. This software was known as Session (for stereo only audio cards) and Session 8 (for multichannel audio interfaces) and was selling for US$399. Selling more than 8,000 systems worldwide, Pro Tools II became the best selling digital audio workstation. 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. A series of TDM plug ins were bundled with the software, including dynamics processing, EQ, delay, modulation, and reverb. Sound Tools and Pro Tools could be run on Windows platforms for the first time.

With the release of Pro Tools | 24 in 1997, Digidesign introduced a new 24 bit interface (the 888|24) and a new PCI card (the d24). The d24 relied on Motorola 56301 processors, offering increased processing power and 24 tracks of 24 bit audio

64 tracks with dual d24 support were introduced with Pro Tools 4.1.1 in 1998, in 2001. allowing a more meticulous and effortless editing workflow (especially on vocals). While consolidating its presence in professional studios, Digidesign began to target the mid range consumer market in 1999 by introducing the Digi001 bundle, consisting of a rack mount audio interface with eight inputs and outputs with 24 bit, 44.1/48 kHz capability and MIDI connections. The package was distributed with Pro Tools LE, a specific version of the software without DSP support, limited to 24 mixing tracks. 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. redefined the workflow adopted in contemporary music production. VCA and volume trim, introduced with Pro Tools 7.2 in 2006; 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 and supported a maximum sample rate of 96 kHz 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). The Pro Tools LE/M Powered line was discontinued with the release of 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 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. 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.

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. To maintain performance consistency, HDX products were specified with a fixed maximum number of voices (each voice representing a monophonic channel). Each HDX card enabled 256 simultaneous voices at 44.1/48 kHz; voice count halved when the sample rate doubled (128 voices at 88.2/96 kHz, 64 voices at 176.4/192 kHz). Up to three HDX cards could be installed on a single system for a maximum of 768/384/192 total voices and for increased processing power. On Native systems, voice count was limited to 96/48/24 voices with the standard version of Pro Tools and 256/128/64 voices with Pro Tools HD software. AAX Native replaced RTAS plug ins and AAX DSP, a specific format running on HDX systems, replaced TDM plug ins. AAX was developed to provide the future implementation of 64 bit plug ins, although 32 bit versions of AAX were still used in Pro Tools 10. TDM support was dropped with HDX, while Pro Tools 10 would be the final release for Pro Tools | HD Process and Accel systems. Notable software features introduced with Pro Tools 10 were editable clip based gain automation (Clip gain), the ability to load the session's audio data into RAM to improve transport responsiveness (Disk caching), quadrupled Automatic Delay Compensation length, audio fades processed in real time, timeline length extended to 24 hours, support for 32 bit float audio and mixed audio formats within the session, and the addition of Avid Channel Strip plug in (based on Euphonix System 5 console's channel strip, following Avid's acquisition of Euphonix in 2010).

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. Different window layouts, along with shown and hidden tracks and their width settings, can be stored and recalled from the Window configuration list.

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. Alternate audio and MIDI content can be recorded, shown, and edited in multiple layers for each track (called playlists), which can be used for track compositing. All the mixer parameters (such as track and sends volume, pan, and mute status) and plug in parameters can be changed over time through automation. Any automation type can be shown and edited in multiple lanes for each track. Track based volume automation can be converted to clip based automation and vice versa; automation of any type can also be copied and pasted to any other automation type. Time can be measured and displayed on the timeline in different scales: bars and beats, time or SMPTE timecode (with selectable frame rates), audio samples, or film stock feet for audio for film referencing (based on the 35 mm film format). Tempo and meter changes can also be programmed; both MIDI and audio clips can move or time stretch to follow tempo changes ("tick based" tracks) or maintain their absolute position ("sample based" tracks). Elastic Audio must be enabled to allow time stretching of audio clips.

Audio and MIDI clips can be moved, cut, and duplicated non destructively on the timeline (edits change the clip organization on the timeline, but source files are not overwritten). Time stretching (TCE), pitch shifting, equalization, and dynamics processing can be applied to audio clips non destructively and in real time with Elastic Audio and Clip Effects; gain can be adjusted statically or dynamically on individual clips with Clip Gain; fade and crossfades can be applied, adjusted and are processed in real time. All other types of audio processing can be rendered on the timeline with the AudioSuite (non real time) version of AAX plug ins. Audio clips can be converted to MIDI data using the Celemony Melodyne engine; pitches with timing and velocities are extracted through melodic, polyphonic, or rhythmic analysis algorithms. Pitch and rhythm of audio tracks can also be viewed and manipulated with the bundled Melodyne Essential. MIDI notes, velocities, and controllers can be edited directly on the timeline, each MIDI track showing an individual piano roll, or in a specific window, where several MIDI and Instrument tracks can be shown together in a single piano roll with color coding. Multiple MIDI controllers for each track can be viewed and edited on different lanes. MIDI tracks can also be shown in musical notation within a score editor. MIDI data such as note quantization, duration, transposition, delay, and velocity can also be altered non destructively and in real time on a track per track basis. Video files can be imported to one or more video tracks and organized in multiple playlists. Multiple video files can be edited together and played back in real time. Video processing is GPU accelerated and managed by the Avid Video Engine (AVE). Video output from one video track is provided in a separate window or can be viewed full screen.

The virtual mixer shows controls and components of all tracks, including inserts, sends, input and output assignments, automation read/write controls, panning, solo/mute buttons, arm record buttons, the volume fader, the level meter, and the track name. It also can show additional controls for the inserted virtual instrument, mic preamp gain, HEAT settings, and the EQ curve of supported plug ins. Each track inputs and outputs can have different channel depths: mono, stereo, multichannel (LCR, LCRS, Quad, 5.0/5.1, 6.0/6.1, 7.0/7.1); Dolby Atmos and Ambisonics formats are also available for mixing. Audio can be routed to and from different outputs and inputs, both physical and internal. Internal routing is achieved using busses and auxiliary tracks; each track can have multiple output assignments. Virtual instruments are loaded on Instrument tracks—a specific type of track that receives MIDI data in input and returns audio in output. Plug ins are processed in real time with dedicated DSP chips (AAX DSP format) or using the host computer's CPU (AAX Native format).

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. 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.

The main mix of the session—or any internal mix bus or output path—can be bounced to disk in real time (if hardware inserts from analog hardware are used, or if any audio or MIDI source is monitored live into the session) or offline (faster than real time). The selected source can be mixed to mono, stereo, or any other multichannel format. Multichannel mixdowns can be written as an interleaved audio file or in multiple mono files. Up to 24 sources of up to 10 channels each can be mixed down simultaneously—for example, to deliver audio stems. Audio and video can be bounced together to a MOV file; video is transcoded with the DNxHD, DNxHR, Apple ProRes, and H.264 video codecs.

Session data can be partially or entirely exchanged with other DAWs or video editing software that support AAF, OMF, or MXF. AAF and OMF sequences embed audio and video files with their metadata; when opened by the destination application, session structure is rebuilt with the original clip placement, edits, and basic track and clip automation. Track contents and any of its properties can be selectively exchanged between Pro Tools sessions with Import Session Data (for example, importing audio clips from an external session to a designated track while keeping track settings or importing track inserts while keeping audio clips). 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.

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).

Pro Tools reads embedded metadata in media files to manage multichannel recordings made by field recorders in production sound. All stored metadata (such as scene and take numbers, tape or sound roll name, or production comments) can be accessed in the Workspace browser. Analogous audio clips are identified by overlapping longitudinal timecode (LTC) and by one or more user defined criteria (such as matching file length, file name, or scene and take numbers). An audio segment can be replaced from matching channels (for example, to replace audio from a boom microphone with the audio from a lavalier microphone) while maintaining edits and fades in the timeline, or any matching channels can be added to new tracks.

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

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.