Pro Tools session to WAV

Drop a zipped session folder to bounce it as a WAV, or select a file — it opens in the studio, ready to export.

PTX · PTF · PTS · ZIP

How to get a WAV out of a Pro Tools project

A Pro Tools session has landed on you and what you need out of it is a file you can work from: something to drop into another DAW, send to a mixer, or sit down with and carry on. Not a preview of it. The recordings are already in the folder — what is missing is something that plays them all at once and writes the result down.

  1. Add your session: The session folder, zipped — document, `Audio Files` and all. A bare .ptx names recordings it cannot supply, and .ptf and .pts sessions from older versions are taken the same way.
  2. It is read on our server: A session document is a structured binary, so it is read on our side rather than in your browser — a free account covers that. The recordings it points at play from the copy your browser already holds.
  3. Bounce it to WAV: File → Export audio… writes the master mix, one selected track, or every track as its own file, at the 16-bit the dialog opens on or at 24-bit or 32-bit float.

More ways to work with your music

Try our online tools to separate, transcribe and convert — Doseedo does it all.

Questions about the pro Tools session to WAV converter?

We have answers.

Can I convert a .ptx to WAV?

No — nothing transcodes a session. A .ptx holds positions and levels rather than a mix, so the WAV is made by playing the folder's recordings through that arrangement and writing the sum down. What comes out is what the session is holding, summed — not what the session sounded like with the plugins running, and not the untouched contents of `Audio Files`.

Do I need an account?

Yes, a free one — it covers the read, which happens on our side rather than in the page. The bounce differs in kind rather than in gating: the session's audio comes back down to your browser and the 70 MB WAV is assembled and written there, so the file itself is never something a server hands you.

Can I bounce a single track?

Yes — the Selected source writes the active track on its own, which is the quickest way to pull one vocal take or one guitar out of a session without touching the rest. A zip of all of them is the other option.

Why is a track in the session silent here?

Either its audio was not in the folder you handed over, or it is a MIDI lane, which arrives with no notes in it. The first is fixed by zipping the whole session folder; the second has to leave Pro Tools as MIDI.

Try our free pro Tools session to WAV converter

  • A session you can open without a licence

    A licence is what normally stands between you and a session somebody else made, and an install with it. Here the document is read and the arrangement comes back: tracks with their names, clips at their positions, and the volumes, pans and mutes the session set. Because the recordings live in `Audio Files` beside that document, the folder carries the music as well as the map, and Import session loads every clip from the local file at its own place on the timeline. What a WAV of it holds, then, is those recordings, summed at the levels the session set. Insert chains are not rendered. The audio the session carries is. Carried compressed, though, from the moment it arrives here — so the WAV is a file to work from and hand on. Master from the folder.

  • A sum of the session's own recordings

    Every other page in this set has to make audio before it can write any down. This one does not: the clips are recordings already, and the bounce is a sum — each one decoded, placed where the session put it, scaled by the fader the session gave it, added together and written out. Nothing is modelled and nothing is performed, which is why a WAV made this way is the closest thing to the session that can leave a browser. The exception is a MIDI lane, which arrives with no notes in it and contributes nothing; that part has its own route through MIDI to audio, and what comes back from there is a modelled player's performance rather than the instrument the session named. Anything performed is worth a separate filename.

  • Keep the session's own sample rate

    The rate control has three settings and the first is Project, which writes the bounce at whatever rate the session already runs at. That is the one to leave alone when the file is going back to the people who made it. A session recorded at 96 kHz forced down to 48 on the way out has been resampled, and one at 44.1 pushed up to 48 has been resampled too — an arithmetic step that invents samples nobody recorded, performed for no reason if the destination was happy with the original. Pin 44.1 when something downstream expects a CD rate and nothing else, pin 48 for video, and leave it on Project the rest of the time. Depth is the separate choice beside it.

Try these Doseedo tools