What’s New in Pro Tools and

Pro Tools | Ultimate

version 2020.11
Legal Notices

© 2020 Avid Technology, Inc., (“Avid”), all rights reserved. This guide may not be duplicated in whole or in part without the written consent of Avid.

For a current and complete list of Avid trademarks visit: www.avid.com/legal/trademarks-and-other-notices

This product may be protected by one or more U.S. and non-U.S. patents. Details are available at www.avid.com/patents.
Product features, specifications, system requirements, and availability are subject to change without notice.

Bonjour, the Bonjour logo, and the Bonjour symbol are trademarks of Apple Computer, Inc.
Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries.

Confidential unpublished works. Copyright 2020 Dolby Laboratories. All rights reserved.
Dolby, Dolby Atmos, and the double-D symbol are registered trademarks of Dolby Laboratories
Licensing Corporation.

Guide Part Number 9329-66201-00 REV A 11/20

Contents

What’s New in Pro Tools 2020.11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

New Features and Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
System Requirements and Compatibility Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Conventions Used in This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

New and Improved Features in Pro Tools 2020.11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

UI Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Convert Audio to MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Space Clips Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Bounce Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Bounce Mix to MOV (Public Beta) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Import QuickTime, AAC/M4a, and MXF OP1a Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Import and Export AAF Mute State . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Support for Up to 512 Master Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Optimize Performance at Low Buffer Sizes Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Dolby Atmos Improvements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Export Dolby Atmos ADM Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Bed/Object Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
ADM Import Improvements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Track Data to Import Improvements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Working Without a Connected Renderer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

What’s New in Pro Tools 2020.11 iii

What’s New in Pro Tools 2020.11

New Features and Enhancements

Pro Tools® and Pro Tools | Ultimate™ software version 2020.11 provides the following new features and enhancements.

UI Themes
• Pro Tools lets you change the theme for the User Interface (UI) between Classic (legacy) and Dark (new).

Convert Audio to MIDI

• In partnership with Celemony, Pro Tools integrates Melodyne™ to enable audio pitch and amplitude conversion to MIDI notes and
velocities.

Space Clips Command

• The Space Clips command sets the space between selected clips on the timeline by a specified amount in the selected timebase.

Bounce Mix
• Bounce Mix (formerly Bounce to Disk) lets you export your mix, including sub-mixes, to multiple file formats without having to
create extra dedicated audio tracks in your session for bus recording.

Import QuickTime, AAC/M4a, and MXF OP-1a Audio

• Pro Tools lets you import audio from QuickTime, AAC/M4a, and MXF OP-1a files without having QuickTime installed on your com-
puter.

Import and Export AAF Mute State

• Pro Tools supports import of static track mute settings in an AAF created from Avid Media Composer 2020.9 and higher. Pro Tools
automatically includes mute settings when exporting selected track as AAF.

Bounce Mix to MOV (Public Beta)

• Pro Tools provides a Bounce Mix to MOV (Public Beta) option. This lets you transcode video to new files along with PCM audio in
mono, stereo, and 5.1 channel widths. This feature is offered as a public beta and is not fully supported at this time.

Support for Up to 512 Master Faders

(Pro Tools | Ultimate Only)
• Pro Tools | Ultimate supports up to 512 Master Fader tracks.

Optimize Performance at Low Buffer Sizes Option

(Mac Only)
• Optimizes CPU performance at lower HW Buffer Size settings.

What’s New in Pro Tools 2020.11 1

Dolby Atmos Improvements
(Pro Tools | Ultimate Only)

ADM Import and Export

• Pro Tools | Ultimate lets you export to the Dolby® Atmos™ ADM BWF file format using the Bounce Mix.
• Pro Tools | Ultimate provides improved import of ADM BWF files using Import Session Data.

I/O Setup Improvements

• Changes to I/O Setup improve the interaction between Pro Tools and the Dolby Atmos Render and facilitate AMD export using
Bounce Mix.

System Requirements and Compatibility Information

Avid can only assure compatibility and provide support for hardware and software it has tested and approved.

For complete system requirements and a list of qualified computers, operating systems, hard drives, and third-party devices, visit:
www.avid.com/compatibility

Conventions Used in This Guide

Pro Tools documentation uses the following conventions to indicate menu choices, keyboard commands, and mouse commands:
:

Convention Action

File > Save Choose Save from the File menu

Control+N Hold down the Control key and press the N key

Control-click Hold down the Control key and click the mouse but-
ton

Right-click Click with the right mouse button

The names of Commands, Options, and Settings that appear on-screen are in a different font.

The following symbols are used to highlight important information:

User Tips are helpful hints for getting the most from your Pro Tools system.

Important Notices include information that could affect your Pro Tools project data or the performance of your
Pro Tools system.

Shortcuts show you useful keyboard or mouse shortcuts.

Cross References point to related sections in this guide and other Avid documentation.

What’s New in Pro Tools 2020.11 2

How to Use this PDF Guide
This PDF provides the following useful features:
• The Bookmarks on the left serve as a continuously visible table of contents. Click on a subject heading to jump to that page.
• Click a + symbol to expand that heading to show subheadings. Click the – symbol to collapse a subheading.
• The Table of Contents provides active links to their pages. Select the hand cursor, allow it to hover over the heading until it turns
into a finger. Then click to locate to that subject and page.
• All cross references in blue are active links. Click to follow the reference.
• Select Find from the Edit menu to search for a subject.
• When viewing this PDF on an iPad, it is recommended that you open the file using iBooks to take advantage of active links within
the document. When viewing the PDF in Safari, touch the screen, then touch Open in “iBooks”.

Resources
The Avid website (www.avid.com) is your best online source for information to help you get the most out of Pro Tools.

Account Activation and Product Registration

Activate your product to access downloads in your Avid account (or quickly create an account if you do not have one). Register your
purchase online, download software, updates, documentation, and other resources.
www.avid.com/account

Support and Downloads

Contact Avid Customer Success (technical support), download software updates and the latest online manuals, browse the Compatibil-
ity documents for system requirements, search the online Knowledge Base or join the worldwide Avid user community on the User Con-
ference.
www.avid.com/support

Training and Education

Study on your own using courses available online, find out how you can learn in a classroom setting at an Avid-certified training center,
or view video tutorials and webinars.
www.avid.com/education

Video Tutorials
The Get Started Fast with Pro Tools series of online videos provide tutorials to help if you are new to Pro Tools. They also provide vid-
eos for the experienced user that introduce new features found in the latest versions of Pro Tools.
www.avidblogs.com/get-started-fast-with-pro-tools/

View Pro Tools Tech Tips on YouTube for the latest tips and tricks with Pro Tools.

Products and Developers

Learn about Avid products, download demo software, or learn about our Development Partners and their plug-ins, applications, and
hardware.
www.avid.com/products

What’s New in Pro Tools 2020.11 3

New and Improved Features in Pro Tools 2020.11

UI Themes
Pro Tools lets you change the theme for the User Interface (UI) between Classic (legacy) and Dark (new). Pro Tools defaults to the
new Dark UI Theme. Depending on the lighting environment where you use Pro Tools, you may find that one UI Theme is more
desirable than the other.

Dark UI Theme

To select the UI Theme:

1 Choose Setup > Preferences
2 Click the Display tab.
3 Click the UI Theme selector and select either Classic or Dark.

UI Theme preference

New and Improved Features in Pro Tools 2020.11 4

4 Click OK.
5 Quit (Mac) or Exit (Windows) and relaunch Pro Tools for changes to take effect.

Convert Audio to MIDI

Pro Tools integrates Melodyne from Celemony to let you convert audio to MIDI. Melodyne analyzes selected audio and converts
pitches and rhythms to MIDI notes and amplitude to velocities.

Audio to MIDI Plug-in Preference

To set the plug-in used for audio to MIDI processing:
1 Choose Setup > Preferences.
2 Click the Processing tab.
3 Select the desired plug-in from the Audio to MIDI Plug-in selector.

Audio to MIDI Plug-in preference

4 Click OK.

Extract MIDI from an Audio Track

Pro Tools lets you extract MIDI note and velocity data from selected audio tracks and automatically paste it to new MIDI or In-
strument tracks. When extracting MIDI from audio tracks, a new MIDI or Instrument track is created for each selected audio track.
When multiple audio tracks are selected for MIDI extraction, the same Conversion Type option is used for all of them. This is usu-
ally fine if the selected audio tracks contain similar audio material, such as a choir, a string orchestra, or brass section. However,
if the source tracks contain widely different audio material, such as drums, bass guitar, saxophone, and vocals, it is recommended
that you convert each audio track separately so that you can use the best Conversion Type option for each source track. For ex-
ample, use Percussive for drums, Melodic for saxophone, and so on.

To extract MIDI from audio and write it to a new MIDI or Instrument track:
1 Select an audio track and do one of the following:
• Choose Track > Extract MIDI to New Track.
• Right-click the track name in the Track List, or in the Mix or Edit window and choose Extract MIDI to New Track.

Extracting MIDI from a source audio track

New and Improved Features in Pro Tools 2020.11 5

2 In the resulting Audio to MIDI Properties dialog, do the following:
• Select the Destination Track Type (MIDI or Instrument).
• Select the Conversion Type appropriate to the selected audio (such as Monophonic for solo melodic audio or Rhythmic for
percussive audio). The available options are dependent on the selected Audio to MIDI Plug-in (Setup > Preferences > Pro-
cessing.

3 Enable Consolidate Clips to create a single MIDI clip from multiple audio clips on the source audio track.
4 Enable Insert after last selected track to place the new MIDI or Instrument track after the last selected track.
5 Select the desired option for what to do with the Source Tracks:

Hide and Make Inactive Select to hide and make the source audio tracks inactive.

Make Inactive Select to make the source audio tracks inactive (without hiding them).

Delete Select to delete the source audio tracks.

Do Nothing Select to leave the source audio tracks intact.

Press Command+Left/Right Arrow (Mac) or Control+Left/Right Arrow (Windows) to move through the Source Track options.

6 Click OK.

MIDI is extracted from audio on the source track(s) and pasted to the same timeline location on the new MIDI or Instrument
track(s).

Extracted MIDI on a new Instrument track

Drag and Drop Audio to MIDI

Pro Tools lets you select one or more audio clips (including clip groups) and drag them to MIDI or Instrument tracks to convert the
source audio to MIDI.

To convert audio to MIDI by drag and drop:

1 Select one or more audio clips (or clip groups) on an audio track or in the Clip List.
2 Drag and drop the selected clips to a MIDI or Instrument track.

Dragging and dropping an audio clip from an audio track to an Instrument track

New and Improved Features in Pro Tools 2020.11 6

3 In the resulting Audio to MIDI Properties dialog, select the most appropriate Conversion Type option for the source audio (for
example, select Rhythmic for percussive audio or Monophonic for solo melodic audio).

Audio to MIDI Properties dialog when copying audio as MIDI

4 If you are dragging and dropping multiple audio clips to a MIDI or Instrument track, enable the Consolidate Clips option to cre-
ate a single MIDI clip from the source audio clips.

Selected clips are copied as MIDI to the destination track.

Pro Tools does not support audio to MIDI conversion with dragging and dropping from a Workspace, or the macOS Finder
or Windows Explorer.

MIDI clip extracted from audio clip

Copy Audio and Paste as MIDI

Pro Tools lets you copy audio as MIDI from selected audio clips on audio tracks or in the Clips List, and paste MIDI extracted from
that audio to MIDI and Instrument tracks.

To copy and paste audio as MIDI:

1 Do any of the following:
• Right-click an audio clip on an audio track or in the Clips List and choose Copy Audio as MIDI.
• Select one or more audio clips in the Clips List, then either choose Copy Audio as MIDI from the Clips List menu or
right-click a selected audio clip and choose Copy Audio as MIDI.
• Make an edit selection on an audio track that includes any audio (partial, whole, or multiple clips), right-click the selection and
choose Copy Audio as MIDI.

New and Improved Features in Pro Tools 2020.11 7

Copying audio to MIDI

2 In the resulting Audio to MIDI Properties dialog, select the most appropriate Conversion Type option for the source audio (for
example, select Rhythmic for percussive audio or Monophonic for solo melodic audio).
3 Enable the Consolidate Clips option to create a single MIDI clip from the source audio.
4 Place the edit cursor at the time location on a MIDI or Instrument track where want to paste the extracted MIDI.
5 Choose Edit > Paste, or press Command+V (Mac) or Control+V (Windows).

The MIDI extracted from the copied audio is pasted as a new MIDI clip to the time location of the edit cursor on the target MIDI
or Instrument track.

MIDI copied from audio pasted to an Instrument track

Space Clips Command

The Space Clips command sets the space between selected clips on the timeline by a specified amount in the selected timebase. This
can be useful for arranging selected clips, adding space between songs when mastering, or even creating beat patterns among other
possibilities.

To add time between clips and reposition them on the Timeline:

1 Select clips on one or more tracks in the Edit window.

Selected clips to be re-spaced

New and Improved Features in Pro Tools 2020.11 8

2 Choose Edit > Space Clips.

Press Option+Shift+H (Mac) or Alt+Shift+H (Windows) to open the Space Clips dialog.

3 In the Space Clips dialog, select the Timebase.

Press Command+Up/Down Arrow keys (Mac) or Control+Up/Down Arrow keys (Windows) to cycle through the Time Scale
options.

Space Clips dialog, selecting Timebase

4 If desired, select Follow Main Time Scale to have the Space Clips dialog open with the Main Time Scale of the session selected
by default.
5 Enter a value for the amount of time to set the Gap Between Clips.

Press Left/Right Arrow keys to move the cursor to the previous or next time division (for example, press the Right Arrow key
to move from minutes to seconds to milliseconds).

Space Clips dialog

If there are any spaces between selected clips and you set the Gap Between Clips to 0 in any Timebase, all selected clips move
so that they are abutted.

Selected clips re-spaced

New and Improved Features in Pro Tools 2020.11 9

Bounce Mix
Bounce Mix (formerly Bounce to Disk) lets you export your mix, including sub-mixes, to multiple file formats without having to
create extra dedicated audio tracks in your session for bus recording. Bouncing writes to separate audio files, so you do not have
to reserve any tracks for a bounce. A bounce can be done offline (faster than real-time) or in real-time (so you can listen to audio
playback of your mix during the bounce process).

You can use the Bounce Mix command to export loops, sub-mixes, stems, or any other session audio. You can use it to create final
mono, stereo, and multichannel master files in any of several audio file formats. Bounce Mix also provides conversion options for
sample rate, bit resolution, and format. It will even let you automatically import bounced files after the bounce is complete. Use
Bounce Mix presets to store and recall your most commonly used Bounce settings.

The Track Bounce dialog has also been updated to include Presets, Location settings, and User Interface improvements that
match the new Bounce Mix dialog.

To Bounce Mix (basic instructions):

1 Make a Timeline selection to define the time range to be bounced.
2 Choose File > Bounce Mix.
3 Configure the Bounce Mix options as desired.
4 Click Bounce.

Bounce Mix Options

Configure the Bounce Mix dialog to determine the parameters of bounced audio files. Different options and settings are available
depending on the selected File Type, File Format, Bit Depth, and Sample Rate options.

Bounce Mix dialog

New and Improved Features in Pro Tools 2020.11 10

Presets

The Bounce Mix window provides two preset options that let you quickly store and recall your most commonly used Bounce set-
tings. For example, you may regularly use the same settings for different delivery formats depending on the nature of the projects
you work on. Store and recall the Bounce settings that you most commonly use on your local Pro Tools system with the Presets but-
tons. You can store up to 5 quick presets on the buttons numbered 1–5 by command-clicking (Mac) or control-clicking (Windows)
on the buttons and recall them by clicking on the buttons or by pressing Contro1+ 1–5 (Mac) or Start+ 1–5 (Windows). You can
also store as many named presets as you want using the Bounce Settings menu.

To store a Bounce preset:

1 Configure the Bounce Mix dialog as you like.
2 Command-click (Mac) or Control-click (Windows) the Preset button where you want to store the current Bounce Mix dialog set-
tings.

To recall a Bounce preset:

 Click the Preset button that contains the settings you want to recall.

Press Control+1–5 (Mac) or Start+1–5 (Windows) to recall the corresponding preset.

Bounce Settings Menu

Use the Bounce Settings menu commands to save, import, delete, and manage Bounce settings as presets, or Bounce settings files
(.ptpreset). Bounce settings files include all settings in the Bounce Mix dialog except for the File Name. They also include Mix
Sources (if they match the output paths used in the session) and Locations (if the specified location directory path settings are
available on the current Pro Tools system). By default, Bounce settings files are stored in /Documents/Pro Tools/Pro Tools Set-
tings/Bounce/. Named Bounce settings files in the default Pro Tools Settings folder are listed in the Bounce Settings menu right un-
der <factory default>. You can save as many Bounce settings files as you want. Bounce settings files can be shared with other Pro
Tools systems.

Bounce Settings menu

Bounce Settings menu commands include:

<factory default> Restores the default settings for the Bounce Mix dialog. Any additional Bounce settings files that are stored in
the default directory are also listed here in alphabetical order.
Save Settings Saves the current settings. This command overwrites any previous version of the preset.

Save Settings As Saves the current settings as a new preset under a different name.

Import Settings Imports a Bounce settings file from a location other than the Root Settings folder or Session folder.

Delete Current Settings File Permanently deletes the current Bounce settings file from disk.

Lock/Unlock Settings File Locks the current Bounce settings file so that it cannot be edited or deleted. Choose Unlock Settings
File to unlock the file for editing.

File Name

Type the File Name for the bounced file.

New and Improved Features in Pro Tools 2020.11 11

File Type

Select the File Type for the bounced file. The following options are available:

WAV (BWF)

This format is supported on Windows and Mac. To use a WAV file in Pro Tools, you can drag and drop from a Workspace browser,
Windows Explorer or Mac Finder, or you can use the Import Audio command. Files in this format do not have to be converted to
be used in Pro Tools.

WAV (Dolby Atmos ADM BWF) (Pro Tools | Ultimate Only)

Dolby Atmos™ ADM BWF is a Dolby Atmos master file format used to carry audio and metadata for production and distribution
(see Export Dolby Atmos ADM Files).

AIFF

This format is supported on Windows and Mac. To use an AIFF file in Pro Tools, you can drag and drop from a Workspace
browser, Windows Explorer or Mac Finder, or you can use the Import Audio command. Files in this format do not have to be con-
verted to be used in Pro Tools.

MP3

The MPEG-1 Layer 3 (MP3) compression format is used for streaming and downloading audio over the Internet, and for playback
on portable devices.

MXF (OP-Atom)

While OP-Atom MXF files can contain either one channel of audio or one track of video per file, Pro Tools can only export audio
when bouncing to MXF (OP-Atom). Also, to ensure compatibility with Non-Linear Editors (such as Avid Media Composer) when
bouncing to MXF (OP-Atom), Multiple Mono is automatically selected as the only available option for File Type and Pad To
Frame Boundary is enforced.

MOV (Public Beta)

.mov files can include both video and multiple channels of audio (see Bounce Mix to MOV (Public Beta)). This option is not avail-
able if there is no video in the session.

Mix Source

All currently active output paths (both internal mix busses and output busses) and any physical outputs used in the session are avail-
able as the Mix Source.

Pro Tools | Ultimate lets you bounce up to 24 sources simultaneously.

Audio Settings

The Audio options vary depending on the selected File Type.

Compression Type

The Compression Type setting typically defaults to PCM (Uncompressed) for most File Types and cannot be changed. If MP3
is selected as the File Type, it updates to MP3 and cannot be changed.

Add MP3

If the selected File Type is WAV (BWF) or AIFF, you can enable the Add MP3 option to also bounce an MP3 file from the selected
Mix Source.

File Format

Select the File Format for the bounced file. Options include Mono (Summed), Multiple Mono, and Interleaved.

New and Improved Features in Pro Tools 2020.11 12

Delivery Format (Pro Tools | Ultimate Only)

If more than one Mix Source is specified and WAV (BWF) is selected as the File Format, the Delivery Format selector appears.
Select File Per Mix Source to bounce each source to its own file. Select Single File to bounce all sources to a single interleaved
WAV file (the File Format is automatically set Interleaved). When Single File is selected as the Delivery Format, the order of the
specified Mix Sources determines the stem order in the bounced file. Drag Mix Sources up and down in the list to change the order.

Bit Depth

This setting lets you select between three different bit depths for the bounce conversion: 16 Bit, 24 Bit, and 32 Bit Float.

Sample Rate

This option lets you save to any of several sample rates. Choices are dependent on your Pro Tools system and audio interfaces. Op-
tions can include sample rates from 8 kHz to 192 kHz, including sample rates with Pull Up and Pull Down options.

Pad To Frame Boundary

Enable the Pad To Frame Boundary option to create a bounced file that pads to a frame boundary by rounding up to the
nearest frame location on either side of the bounce range to ensure placement accuracy in a Non-Linear Editor, such as Avid
Media Composer.

Location

Import After Bounce

Enable the Import After Bounce option to automatically import the newly bounced files into the Clips List. This option is only
available if the bounce Sample Rate matches the session sample rate.

Final Destination

Session Folder Enable this option to bounce files to a location within the Session folder. By default a Bounced Files folder is used,
but you can change the by typing a new name. If there is no folder with that name, it will be created. If it already exists, it will be
used. For example, if you type “Audio Files,” the session Audio Files folder is used. For Projects, since they do not have a session
folder, the Documents/Pro Tools/Bounced Files folder is used instead.

You can also create sub-folders for bounced files by typing a <folder name>/<sub-folder name> (Mac) or <folder name>\
<sub-folder name> (Windows). For example, type “Mixes/MP3s” (Mac) or “Mixes\MP3s” (Windows).

These folder names are saved and recalled with presets. This way you can save presets with folder locations that are always relative
to your session location.
Prompt for Location Enable this option to be prompted for the location where you want to save the bounced file after you click
Bounce.

Directory Enable this option to save the bounced file to the default directory location. Click the Choose button to specify a differ-
ent directory for bounced files than the default location. This is useful if there is a static location where you want the bounced file
to be written. You can save multiple static locations and recall them with presets.

Offline

Enable the Offline option for faster-than-real-time bounce. When this option is disabled, the bounce process plays back audio from
the selected Mix Source in real-time.

Bounce Mix to MOV (Public Beta)

Since the Bounce to QuickTime command is no longer available on macOS Catalina and above, or on Windows without Quick-
Time installed, Pro Tools provides an option to bounce to MOV (Public Beta). Bounce to MOV (Public Beta) lets you transcode
video to new files along with PCM audio in mono, stereo, and 5.1 channel widths. This option is available on all supported OSs.

This feature is offered as a public beta and is not fully supported at this time.

New and Improved Features in Pro Tools 2020.11 13

To Bounce Mix to MOV (Public Beta):
1 Ensure that you have an Video track in your session with at least one video clip on it.
2 Make a Timeline selection to define the time range to be bounced.
3 Choose File > Bounce Mix.
4 Select MOV (Public Beta) as the File Type. The Video pane appears between the Audio and Location panes in the Bounce Mix
dialog.
5 Select the Mix Source for the audio you want included in the .mov file (mono, stereo, 5.1, and 7.1 channel widths are supported).
6 Configure the Audio settings as desired.
7 Configure the Video settings as desired (see Video Settings).
8 Configure the Location settings as desired.
9 Enable Offline if desired.
10 Click Bounce.

Video is bounced at the current engine Frame Rate and Raster Size as shown below the video track controls in the Edit window.
For example, if the video track indicates an engine Frame Rate of 29.97, a Raster Size of 1920x1080, and it is set to Progressive,
the bounced .mov file will have the same characteristics. Additionally, any bounced .mov file that includes video must be
transcoded to a specified codec. However, not all codecs are available at all Frame Rates and Raster Sizes.

Video Settings
When MOV (Public Beta) is selected as the File Type for Bounce Mix, the Video pane appears and provides different Video set-
tings depending on the selected Codec.

Bounce Mix dialog, MOV (Public Beta) selected as the File Type with Video settings shown

Include Video

Enable the Include Video option to include the video in the bounced .mov file. When video is included, it must be transcoded to a
specified codec. Disable the Include Video option to bounce audio only to .mov. When this option is disabled, all other Video set-
tings are grayed out and unavailable.

Same as Source

This option is grayed out and unavailable with this Public Beta release.

New and Improved Features in Pro Tools 2020.11 14

Replace Timecode Track

This option is grayed out and unavailable with this Public Beta release.

Transcode

The Transcode option is automatically enabled if Include Video is enabled. The bounced video will be transcoded using the
selected Codec. Note that not all codecs are available at all Frame Rates and Raster Sizes.

Codec

The following codecs are available for transcoding: DNxHD, DNxHR, Apple ProRes, and H.264.

Compression

Depending on the selected Codec, different Compression options are available.

DNxHD Provides the following compression options:
• DNxHD LB (lowest bandwidth)
• DNxHD SQ
• DNxHD HQ (highest bandwidth)
DNxHR Provides the following compression options:
• DNxHR LB (lowest bandwidth)
• DNxHR SQ
• DNxHR HQ (highest bandwidth)
Apple ProRes Provides the following compression options:
• ProRes Proxy (lowest bandwidth)
• ProRes LT
• ProRes 422
• ProRes HQ (highest bandwidth)

Encoding Mode

The H.264 codec provides two different options for the Encoding Mode: CBR and VBR Single Pass. Note that Bit Rate values de-
pend on the raster size of the Video Engine.
CBR (Constant Bit Rate) When selected as the Encoding Mode, you can set the Bit Rate in Mbps. Select this option to ensure a
consistent bit rate and predictable rate and file size, or if you are delivering the bounced .mov file for web-based streaming.
VBR (Variable Bit Rate) Single Pass When selected as the Encoding Mode, you can set the Target Bit Rate and the Max Bit Rate,
both in Mbps. Use this option to achieve the optimal bit rate and file size (depending on the content of the video).

VBR typically takes longer than CBR encoding, but it is preferred for most non-web content delivery.

Import QuickTime, AAC/M4a, and MXF OP1a Audio

Pro Tools lets you import audio from QuickTime, AAC/M4a, and MXF OP1a files without having QuickTime installed on your
computer. The following audio file types and codecs have been added for macOS Catalina and above, as well as on Windows, with-
out the need for QuickTime Player to be installed:
• .m4a/.m4v/.aac
• AAC audio
• .mov/.mp4
• PCM (uncompressed), AAC audio

New and Improved Features in Pro Tools 2020.11 15

• .mxf
• OP1a (audio from a combined audio/video MXF)
• PCM (uncompressed) audio

These files types can be imported using Import Audio (File > Import > Audio) or by dragging and dropping from the Mac Finder,
Windows Explorer, or a Workspace browser. Audio can also be imported using Import Video (File > Import > Video) if the file
contains both video and audio. Audio is converted to the session file format on import.

Import and Export AAF Mute State

Pro Tools supports import of static track mute settings in an AAF created from Avid Media Composer 2020.9 and higher. Pro Tools
automatically includes mute settings when exporting selected track as AAF.

To include (or ignore) static track mute settings when importing an AAF:
1 Choose File > Import > Session Data.
2 For Track Date to Import, click Choose.
3 Enable (or disable) the Main Mute Automation and Setting option.
4 Click OK.
5 Configure the rest of the Import Session Data dialog as desired.
6 Click OK.

Pro Tools automatically exports static mute settings with an AAF (File > Export > Selected Tracks as New AAF/OMF), but only
if there is no additional mute automation on the track. If there are more mute automation breakpoints on the track than the initial
mute on/off, no mute settings are exported.

Support for Up to 512 Master Faders

(Pro Tools | Ultimate Only)

Pro Tools | Ultimate now supports up to 512 Master Fader tracks. This lets you use post-fader audio plug-in processing on the final
stage of every output, which better facilitates Dolby Atmos workflows.

Optimize Performance at Low Buffer Sizes Option

(Mac Only)

In the Playback Engine dialog, the Optimize Performance at Low Buffer Sizes option improves CPU performance on macOS by
minimizing thread-wakeup time jitter. This option, which is enabled by default, applies to only the two lowest available HW Buffer
Size settings. Note that when this option is enabled, certain plug-ins may cause the system to hang for several seconds. If you en-
counter this issue, disable the option or increase the HW Buffer Size setting.

Playback Engine dialog, Optimize Performance at Low Buffer Sizes option enabled

New and Improved Features in Pro Tools 2020.11 16

Dolby Atmos Improvements

Export Dolby Atmos ADM Files

(Pro Tools | Ultimate Only)

Pro Tools lets you export to the ADM BWF file format with Dolby Atmos content using Bounce Mix. This facilitates quick export
of Dolby Atmos mixes using Offline bounce directly from Pro Tools. You can generate new ADM files from a new session with
new metadata, or rework previous ADM files, passing along or changing the previous metadata accordingly. An ADM file bounced
from Pro Tools includes all channels (beds and objects) active in the session that are mapped to the Dolby Atmos Renderer.

To export Dolby Atmos ADM from a Pro Tools session:

1 Choose File > Bounce Mix.
2 In the Bounce Mix dialog, type the File Name.
3 Select WAV (Dolby Atmos ADM BWF) as the File Type.

Bounce Mix dialog, WAV (Dolby Atmos ADM BWF) selected

The Audio settings are configured automatically and the Audio pane of the Bounce Mix dialog grays out.
4 Configure the Dolby Atmos pane of the Bounce Mix dialog according to your delivery requirements (see Dolby Atmos Bounce
Mix Options).

5 Configure the Location pane as desired (see Location).

6 Enable Offline.
7 Click Bounce.

Dolby Atmos Bounce Mix Options

The Dolby Atmos pane of the Bounce Mix dialog displays the number of Beds and Objects to be included in the bounced ADM
file. These are defined by the Bed and Object busses that are mapped to the Renderer in the Bus pane of the I/O Setup. Only Bed
and Object busses that are mapped to the Renderer are included in the bounced ADM file. All unmapped bus paths are excluded.
You can also embed program-level metadata, Bed and Object Group assignments, FFOA (First Frame of Action) timecode loca-
tion, and other Renderer settings.

Dolby Atmos Improvements 17

Beds and Objects

Bed and object busses are included automatically in the bounced ADM file if the following criteria are met:
• The bus must be mapped to a bed or object input to the Renderer in the Bus pane of the I/O Setup.
• The bus must be actively used in the session.
• The bus must be active.
Beds Displays the number of Bed busses mapped to the Renderer in the Bus pane of the I/O Setup. Beds are bounced at the output
point in the signal chain. Since more than one bus can be assigned to an output, bouncing at the output point ensures that all audio
being sent to the Renderer through a mapped bus is included in the bounce. A bus can only be mapped to a bed if its mapped output
matches the width of a given Renderer bed. For more information, see Bed Mapping.
Objects Displays the number of Object busses mapped to the Renderer in the Bus pane of the I/O Setup. Each object bus is bounced
as unique mono object channel. In order to be included in the ADM export, the Object bus must also be mapped to an Output path.

If a bus is mapped to an object but it does not have an output mapping, Pro Tools presents an warning message.

I/O Setup Button

Click the I/O Setup button to open the I/O Setup and validate Bed and Object bus mappings before bouncing to an ADM file. If
necessary, configure the Bus pane of I/O Setup for the ADM bounce. Be sure that all Bed and Object busses that you want to in-
clude in the bounce are correctly mapped to the Renderer.

Add FFOA

FFOA (First Frame of Action) is an optional piece of metadata used to define where the content starts on the Pro Tools Timeline.
Check your content delivery specifications to see if this is a required piece of metadata for the ADM file you need to deliver or not.
If so, be sure to enable the Add FFOA option. In the Bounce Mix window, the FFOA timecode location defaults to the nearest hour
that is equal to or later than the start of the timeline selection in the session.

Frame Rate

The Frame Rate specified in the Session Setup is displayed in the Bounce Mix dialog for reference only and it cannot be changed.
Note that drop fame rates higher than 30 fps are not supported. Frame Rates larger than 30 fps are shown as their SD derivative,
and SD derivative will be embedded in the bounced ADM. For example, a 48 fps session displays 24 fps in this field.

Embed Program-Level Metadata

Program-level metadata refers to metadata that is not time variable and applies to the ADM BWF master as a whole. It is not part
of the dynamic object metadata. It consists of static settings, often used to affect the resulting sound of the mix, as well as the final
Dolby encoding process. Program-level metadata is fixed for the entire session.

Program level metadata consists of the following:

• Downmix
• 5.1 downmix
• 5.1 to 2.0 downmix
• Trim metadata
• Trims
• Front/back balance
• Binaural render mode metadata

There are three different options for embedding program-level metadata:

Factory Default Uses the factory default settings of the Dolby Atmos Renderer for any applicable program-level metadata.

Connected Renderer Uses the connected Renderer setting as metadata for the bounced ADM BWF file. This option is only avail-
able if the Dolby Atmos Renderer is connected with Pro Tools.

Dolby Atmos Improvements 18

Previous ADM File Uses the metadata from the last ADM file imported into the Pro Tools session. This option is only available af-
ter an ADM file has been imported into the session. The name of the last imported ADM file is displayed to the right of this option
in the Embed Program-Level Metadata selector for reference. If more than one ADM file has been imported into the session, only
the metadata from the latest ADM file is maintained.

Bed and Object Groups are always passed through with the current I/O Setup assignments. The Embed Program-Level Meta-
data setting does not apply to these groups.

Bed Mapping
An ADM file bounced from Pro Tools includes all channels (beds and objects) active in the session that are mapped to the Dolby
Atmos Renderer. The Mapping to Renderer column (formerly Mapping to Object) in the Bus pane of the I/O Setup lets you map
busses to beds in a similar way to that of objects. Objects still require a mono bus or a mono sub-path of a stereo bus. Beds require
that the mapped output of the bus match the channel width of the corresponding bed input of the Renderer. Once these mappings
are made for the active beds and objects in the session, the number of mapped Beds and the number of mapped Objects are dis-
played in the Bounce Mix dialog.

I/O Setup, Bus pane with Bed and Object bus paths mapped to matching Renderer Inputs

Dolby Atmos Improvements 19

To map a bus to an input channel on the Renderer:
1 Open the I/O Setup (Setup > I/O) and click the Bus tab.
2 In the Mapping to Renderer column, do one of the following:
• Select the check box in the row for the bus you want to map. The bus will be mapped to the first available Renderer input that
matches the channel width of the bus. For example, if it is a mono bus it maps to an Object input. If it is a 7.1.2 bus it maps
to a Bed input.

Clicking the Mapping to Renderer check box to automatically assign a bus to a matching Renderer input

• Click in the row for the bus you want to map and select an available Renderer input from the list that matches the channel
width of the bus.

Selecting an available Renderer input for bus mapping

3 Repeat the previous step to map additional busses.

4 Click OK to save your changes and close the I/O Setup.

All busses mapped to Bed and Object inputs that are used in the session will be included in the bounced ADM file.

I/O Setup Mapping Key Commands

You can use standard Pro Tools key modifiers to quickly map multiple busses with a single mouse click. The following examples
refer to the Mapping to Renderer column, but they can be used in the Mapping to Output column as well.

To assign all possible bed and object busses when no busses are mapped to the Renderer:

 On the Bus page of the I/O Setup, Option-click (Mac) or Alt-click (Windows) any check box in the Mapping to Renderer col-
umn.

Each bus is mapped to the first available Renderer input of the same channel width in order from top to bottom. Mono busses and
mono sub-paths of stereo busses are mapped to Object input channels until all Object busses are assigned. Multichannel busses for
beds are mapped to matching multichannel bed input channels on the Renderer.

To automatically cascade assign busses of the same channel width to the matching input channels on the Renderer:

 Command+Option-click (Mac) or Control+Alt-click (Windows) the top most check box for a bus of a specific channel width in
the Mapping to Renderer column.

For example, clicking the check box for a 7.1.2 bus cascade assigns all 7.1.2 busses to 7.1.2 Bed Renderer inputs from top to bot-
tom. Whereas clicking the check box for a mono bus cascade assign all mono busses to mono Object Renderer inputs from top to
bottom.

Dolby Atmos Improvements 20

Using Modifier Keys to Make Assignments in the Mapping to Renderer Selector

The same key modifiers can be used when assigning busses in the Mapping to Renderer selector. The difference is that assignments
start from the selected row and work cascade down.

Adding the Shift Modifier Key

Adding the Shift modifier key to any of these key modifier combinations constrains the effect to only selected busses.

Bed/Object Groups
The Dolby Atmos Renderer and Pro Tools both let you create, edit, and manage Bed/Object Groups. This is useful for categorizing
beds and objects into different groups (such as FX or Foley) that can be used for creating re-renders in the Dolby Atmos Renderer.
You can assign individual bed and object busses to Bed/Object Groups.

Groups are often used to derive re-render mixes with the Dolby Atmos Renderer. You can create specific renderings of various
groups to a designated channel width. For example, you can render out Music and FX groups to a 5.1 mix directly from the Dolby
Renderer using groups as a filtering mechanism. Additionally, group names can be used as prefixes or suffixes on track names in
Pro Tools when re-importing an ADM file. This can serve a great organizational cue to orient yourself with a fresh ADM import.

Bed/Object Group Management

Bed/Object Groups can be managed either by the Renderer or in Pro Tools. By default, groups are managed by the Renderer.

When groups are being managed by the Renderer, it is not possible to import groups from an ADM file into the I/O setup. However,
it is still possible to import them into the track names.

If groups are being managed by the Renderer and management is changed to Pro Tools, Pro Tools maintains the existing groups
and assignments. You can then edit groups in Pro Tools, but any changes are not reflected in the Renderer.

If groups are being managed by Pro Tools and management is changed to the Renderer, all existing groups and assignments are re-
moved and replaced with groups from the Renderer assignments.

To manage Bed/Object Groups in Pro Tools:

1 Open the I/O Setup (Setup > I/O) and click the Bus tab.
2 In the Bed/Object Group column, click the selector in any row and choose Manage Bus/Object Groups.

I/O Setup, Bus page: selecting Manage Bed/Object Groups

Dolby Atmos Improvements 21

Manage Bed/Object Groups dialog

3 In the Manage Bed/Object Groups dialog, select the desired Manage Bed/Object Group Names and Assignments with option:
• Pro Tools—the creation, deletion, naming, and assignment of groups is all managed in Pro Tools. Any changes made in
Pro Tools are not reflected in the Renderer.
• Dolby Atmos Renderer—the connected Renderer manages the creation, deletion, naming, and assignment of groups.
Changes made in the Renderer are reflected in Pro Tools (in the Manage Bed/Object Groups dialog and in the Bus page of the
I/O Setup), but you cannot make any changes in Pro Tools.

Only groups that are assigned to mapped beds and objects appear in the groups list. If a group exists in the Renderer, but that
group is not used for an object or bed that Pro Tools is using, that group does not appear in the Manage Bed/Objects Groups
dialog in Pro Tools.

4 If Pro Tools is selected for managing groups, you can do any of the following:
• Type a name for a New Group and click the “+” button to add it to the Groups list.
• Click the name of a group in the list and type to rename it.
• Click the “X” to the right of the name of a group in the list to delete it.
5 Do either of the following:
• Click Cancel to close the dialog without making any changes.
• Click OK to close the dialog and save your changes.

Dolby Atmos Improvements 22

Bed/Object Group Assignments

Use the Bed/Object Groups column in the Bus page of the I/O Setup to assign individual busses to defined groups when managed
by Pro Tools. When groups are managed by the Renderer, they are assigned automatically and cannot be changed from Pro Tools.
When bouncing to ADM BWF, the group assignments currently reflected in the Pro Tools I/O Setup are included in the file.

To assign a Bed or Object bus to a group:

1 Open the I/O Setup (Setup > I/O) and click the Bus tab.
2 In the Bed/Object Group column, click the selector for the bus you want to assign.

Assigning a bus to a Bed/Object Group

3 Select the desired group name (such as FX). To remove a bus from a group, select no group.

Use Option-click (Mac) or Alt-click (Windows), or Option+Shift-click (Mac) or Alt+Shift-click (Windows) to assign to all or
to all selected busses.

Track Outputs
Any bus that is mapped to a bed appears in its own sub-menu in the track output selector. This helps differentiate when an output
is routed directly to the Dolby Atmos Renderer as opposed to a Pro Tools output. This also indicates which track outputs will or
will not be included in a Bounce Mix to WAV (Dolby Atmos ADM BWF).

Track Output selector, Bed sub-menu

ADM Import Improvements

The Import Session Data dialog has been updated to improve Dolby Atmos ADM file import.

To import an ADM file into a Pro Tools session:

1 Open an existing session or create a new one configured for Dolby Atmos mixing or mastering.
2 Choose File > Import > Session Data.
3 In the resulting Open dialog, locate and select the ADM file you want to import.

Dolby Atmos Improvements 23

4 Click Open.
5 In the Import Session Data dialog, configure the options for Timecode Mapping, Media, and Sample Rate Conversion (or use
the default settings).
6 Specify the Destination for each Source track. If the session is already configured with tracks that match those in the ADM file,
click Match Tracks to import all source tracks to matching tracks in the session.
7 Configure the settings in the Custom Data section.
8 Click OK.

Custom Data Settings

The Custom Data section of the Import Session Data dialog only appears when importing ADM files, and most of the options in
this section are unique to ADM import.

Custom Data options in the Import Session Data dialog when importing ADM

Import
Bed/Object Output Assignment Enable this option to import Bed and Object Output assignments.

Object Pan Data Enable this option to import Object Pan Data (automation).

Add Bed/Object Names To

These options let you import Bed/Object Group names and assignments from the ADM file.
I/O Setup Enable this option to assign Bed/Object Group names from the ADM file to matching bus paths in the I/O Setup. This
option is only available if Bed/Object Groups are managed by Pro Tools.
Track Name Enable this option to add Bed/Object names from the ADM file to corresponding track names either as a prefix
(Beginning) or a postfix (End).

Main Playlist Options

Import – Replace Existing Playlists Imports the media and replaces the Main playlist media and panning data.

Import – Overlay New On Existing Playlists Imports the media and overlays media and panning data on existing playlists.

Do Not Import Lets you to import panning data without the media.

Track Data to Import Improvements

The Track Data to Import dialog has been updated with two options for improved handling of Dolby Atmos sessions.

Bed/Object Assignment and Toggle Setting (Pro Tools | Ultimate with Dolby Atmos Only) Imports the mapping of busses to Bed
Inputs to the Renderer, and Object Output Path assignments and Bus/Object toggle settings for any tracks selected for import.

Bed/Object Group Assignments (Pro Tools | Ultimate with Dolby Atmos Only) Imports Bed/Object Group assignments to busses in
the I/O Setup. This option is not available if Bed/Object Groups are being managed by the Renderer.

Dolby Atmos Improvements 24

Working Without a Connected Renderer
Pro Tools provides alternative solutions in situations where a quick edit and re-export of a Dolby Atmos mix is required, but the
Dolby Atmos Renderer is not available.

Managing
If a session has ever been connected to a Renderer, it remembers the last used input mappings and group assignments. These appear
in italics in the I/O Setup. Bus mappings to Renderer inputs and group assignments can still be changed and managed in Pro Tools
even when a Renderer is not connected.

Listening
Outputs that are mapped to beds can fold down, if needed, to fit any output width requirements of the current I/O Setup. If a bus
was associated with the I/O Setup Monitoring Path it may fold down automatically, but if not, it can be re-assigned manually to any
available output. Object outputs can fold down temporarily and be monitored using the currently defined Object Fold Down Path
in the Output page of the I/O Setup.

Importing
It is possible to import ADM files and map busses to beds and object busses, as well as make group assignments, without being con-
nected to a Renderer. The I/O Setup maintains the input configuration and group assignments that were used to create the ADM file.

Dolby Atmos Improvements 25

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