Avid Pro Tools 11
Avid Pro Tools 11

Pro Tools 11, General Sequencer from Avid in the Pro Tools series.

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All user reviews of 4/5 for the Avid Pro Tools 11

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Average Score:4.0( 4/5 based on 10 reviews )
 3 reviews30 %
 3 reviews30 %
 1 user review10 %
 1 user review10 %
Value For Money : Poor
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Editorial review
  • 09/16/15Learn the Pro Tools edit modes and tools in this tutorial video

    Learn the Pro Tools edit modes and tools in this tutorial video - [Video] Get Started with Pro Tools Editing

    When you're editing in Pro Tools, whether it's Pro Tools 12 or an older version, you won't get far if you don't understand how the edit modes and the main editing tools work. In this video we'll explain them to you.

Users reviews

sacchetta's review"No more bouncing in real time!"

Avid Pro Tools 11
Thats right, offline bounce lets you turn your track into a mixdown at up to 150X real time! Major selling point for Pro Tools 11 for sure. This is especially appealing to those who do audiobook or podcasting work. Not all is sunshine and rainbows with PT 11 (sorry to ruin your day). The latest edition of Pro Tools will NOT run your old 32-bit plug-ins (which was virtually all plug-ins at the time of release). Lets get to the specs and see what this version of Pro Tools has to offer:

-96/48/24 maximum simultaneous tracks @ 48/96/192 kHz
-192 kHz & 32-bit maximum
-32 inputs & 32 maximum simultaneous audio recording tracks
-128 instrument Tracks
-512 MIDI tracks
-128 auxiliary tracks
-256 busses
-1 video track
-Support of 64-bit plug-ins
-Offline bounce mode
-16k delay compensation
-60+ virtual instruments, effects, sound processing, & utility plug-ins
-Ultra low latency with a dedicated input buffer
-Extended metering
-New video engine
-Compatible with any core audio or ASIO compatible interface


It's a solid build, I'll be the first to admit that. Running only 64-bit plug-ins will definitely improve your systems performance when using many plug-ins at the same time. And like I said before offline bounce, what a life saver. No more leaving your computer to sit for hours while you bounce down that audiobook chapter. Bouncing at 150X's real time will have the track ready before you know it. I have to confess, I have way to many plug-ins to switch over to PT 11. For now I just work within Pro Tools 10 and then bounce long files in PT 11.

Latency is attacked from a different angle in Pro Tools 11. A dual buffer system allows an input buffer for record-enabled or input-monitored tracks (among other things). A much lower value can be set for the latency, allowing low latency monitoring of input through plug-ins, and instant response when using soft synths live. A 16k delay compensation will help you monitor while you record a track.

Extended metering gives you 30% more meter space for those really fine adjustments. We've all done it before, battling with the gain knob because you can't seem to get the gain right. Well this isn't going to solve that problem, but it will help! This is extremely helpful for those who don't have the best eye sight or have their monitor too far away. Sadly only the HD version has the 13 extra metering options.

It is important to note that Pro Tools 11 is a 64-bit DAW, so do not buy it if you have a 32-bit system.


The thing I liked least about PT 11 and every version of Pro Tools, iLok. People will always figure out ways to steal the software and the only one that hurts is the person who pays for it. We are the ones who have to have a USB slot taken up (and have a small amount of CPU being used because it is plugged in). We are the ones who have to pay to a subscription service to have "zero downtime" or else we face hell trying to get our paid for licenses recovered. I must digress, this is the software I am best at using and so I must play by the rules.

Value for price, it's really hard to put a price on these things. You get the argument that says that people work so long on this, but are they the ones who are getting a percent of the profits? Or are the hard working deserving people at avid all on salary. With a price tag of $699 it's no cheap item. I don't personally know Avid's finances but I can imagine they are making some nice change at $699 a pop, especially since this is an industry standard. I received it as part of a free upgrade, which was great because I think I would have just stayed with Pro Tools 10 if I had to pay. You also have to consider the loss of some of your paid plug-ins. Say you bought some great sounding plug-ins in the past and spent a good amount, it can't feel great not being able to use them with your new DAW.

Lets not forget about the wonderful Avid Virtual Instruments package. With the new 64 bit plug-in system, your mini grand piano has never preformed so well. Seriously you need to try running Boom, Vacuum, Xpand and the Mini Grand.. all at once. I have yet to have Pro Tools stop the session before of an error with too many plug-ins.

Overall it's a great program, a few steps back may have been necessary to usher in the next step in digital recording.

-64-bit program (running 64-bit plug-ins)
-Offline bounce allows you to bounce at up to 150X real time
-Extended metering

-iLok, iLok, iLok
-No support for 32-bit plug-ins
-Will not work on your 32-bit computer
-If something goes wrong and you need support you will most likely have to buy a $30 call ticket (and potentially one for Pace (iLok))

-Due to licensing issues Avid has removed the Big Fish Audio loops from it's website.

Vévé's review"Finally, 64 bits"

Avid Pro Tools 11
Hassle-free installation on my PC running Win7 64 bits (obviously). The most complicated part is transferring the license to the iLock lol

No incompatibilities with my pc nor soundcard (Motu 828mk3 Hybrid). The only 2 plug-ins not recognized are RTAS. I must update them to AAX.


- Intel Core I5
- Gygabite motherboard
- 16gb ram DDR3
- System drive: 120gb ssd
- Audio drives: 2x1Tb sata3 7200rpm in raid1
- Sound card: Motu 828mk3 Hybrid via usb2

Pro Tools works perfectly well except for the fact that, on pc, you have to close it to change the buffer size of the Motu, while on my Macbook I can do it directly from within PT.


Version 11 is really fresh but I've been using PT10 for a year and I'm very satisfied with it.

I switched to 11 because I can FINALLY work at 64bits and do offline bounces, which is faster if you don't use any hardware during mixdown. There are other details worth noting, like the new keyboard shortcuts or double-clicking on the Mix window to add a new track.

However, as I said before, there's the drawback that you need to close PT to change the buffer size of the soundcard when working on a PC, but not on a Mac.

I disapprove AVID's commercial policy of offering a somewhat limited software, which is nevertheless enough for small setups, and also forces you to buy AVID interfaces for several thousand dollars to upgrade to the HD version. Especially if you consider that surround mixing is offered by default on all competitor software programs.

demozic's review (This content has been automatically translated from French)"Without a doubt the best version of PT but it is urgent to wait!"

Avid Pro Tools 11
[My opinion concerns only the Mac version]

Ultra Easy Installation more installer, the application is placed in the application folder and that's it (Pro Tools then install the rest). AIR plug ins must be installed later with another installers.

The longest is to download apps on the Avid website but they are separated Pro tools / plugins (AIR instruments and FX) / Optional plugins fee (Smack, Pultec, BF, Revibe, etc.).

The downside is the new format AAX 64 bits (hence lower my score of 9 to 8). There is nothing to distinguish AAX1 (32bits) of AAX2 (64bits) and suddenly it's hard to know what is compatible PT10, PT11 or two.

In my case (see config below), so I had to keep (or rather install) some RTAS plug-ins (. Dpm) for PT10 (including AIR instruments and FX that are only in 64bit AAX while others liked -ins are Avid-compatible 32/64 bit, as the D-Verb is now AAX 32/64).


I installed PT11 on Mac (ML OSX.8.3) cohabiting with PT10.3.6.
- "Clean" install (OS and then PT11 and PT10 Avid plug-ins and third-party plug-ins)
- OS on SSD / Banks samples (AIR and Co.) on SSD (not reinstalled since PT9) / Digital Audio on internal 7200rpm drive.

All this in a (old) macbook pro 2008 (C2D @ 2.4GHz) with 4GB of RAM with a RME UFX card (firewire cable).

For now, some plug-ins AAX2, I have installed the Arturia V Collection and Vienna Ensemble Pro 5 that work perfectly (for the moment).

My machine is getting old but the performance is good. In fact we find the performance under PT10 OSX.6 (SL), which are a bit better (although finer graphical interface and therefore more difficult to manage). I tested with the sessions with demos delivered PT10 and PT11, and I can get buffers H / W (Note: I always disable the option "ignore errors falling on playback") at the same level as in PT10 SL.

Example of demo session PT10 (Audrye - Turn Me Off)

- PT10.3.3 under SL (OSX.6.8) buffer @ 256 samples it is still rolling but it is limited. CPU <65%
- PT10.3.6 under SL (OSX.6.8) buffer @ 256 samples CPU <45%. @ 128 samples it rolls again but I can not touch (fader opening plugs) if the reading stops.
- PT10.3.6 in ML buffer @ 1024 samples mini if ​​it does not pass, and even with two screens it does not pass either (sic). CPU <35%
- PT11 in ML buffer @ 128 samples even if the display lague a little, I can continue to work normally (@ 64 samples is not possible). CPU <40%

By bcp against it consumes RAM (4GB is really a minimum order bosser).

So with current machine (Core i7 or Xeon MacPro) and more RAM, I think it should dépoter.

Overall, the software looks more stable (but sometimes I still have unplanned downtime but bcp rare) with a much better management of resources (CPU, RAM) and the ability to activate resource allocation dynamically. Also a simplification of the audio engine settings which is not so bad.

Please note:

- Sessions are backward PT10/PT11 (without conversion).

- The latest version of Vienna Ensemble Pro 5 (VEP is currently fully compatible and above can now directly convert old sessions with the plug in RTAS AAX (before we had to redo everything by hand because there had two versions: RTAS and AAX one side of the other).

- On the Bounce offline: it really works great. We can now easily bouncer main outputs but also any bus. This was the case before in real time, but now a simple right click on a bus in the mix and you can choose to directly bouncer.

In addition, the offline bounce works with virtual instruments whatever their type (softsynth or sampler). Even better, the virtual instrumentals "deported" to another machine via VEP5 also bouncent which was not a foregone conclusion and especially take into account the resources of the slave machine (when it is more powerful than the DAW c &#39; is significant).

(Be careful though with samplers that use streaming direct-to-disk. Here the bounce will work but if the hard drives are too slow, there may be artifacts (Case sounds) on the "tails / releases" sounds. I did the test with BFD2 and I randomly cuts on the release of cymables or snares. Where with Superior Drummer 2 (Toontrack) that puts the samples in RAM, no worries. By changing the engine settings (engine) BFD, and putting the samples into RAM and no artifacts bonus bounce became 14x (2x against streaming). A test so with other sample banks. With virtual synth, RAS at the moment.)

To see with all plug-ins installed third when available in 64 bit AAX.


I&#39;ve had qq days, then test. I&#39;m still working on version 10.3 in SL. Version 10.3.6 the same as ML is difficult to use on my machine.

I used PT since version 4 (and 3) and follows the evolution of the software for years (at least natively). I rant since version 7 of the chronic instability of PT LE and native (since they changed the RTAS) and I&#39;m glad we finally get rid of this format in favor of a more stable format and more designed. From this point of view for the moment I&#39;m not disappointed, but it is to do once there will be more plug-ins AAX2 format.

The offline bounce and the new engine is real progress but overall it is not a revolution in the sense that Pro Tools only catch up on bcp functions than its challengers. and the rest is very similar to that Pro Tools 10 should have been (and they still lag behind Nuendo because despite their new VU Meters, they were not included, even in the HD version, measures the current broadcast standards film and tv).

We would have liked Avid goes further by offering more new (the bin that has not changed, even more flexibility in routing (eg send the filled place, insert and faders or you want in the string treatment as in the Harrison Mixbus) have a polarity switch per a best management solo tracks instruments / midi, etc) and fewer limitations (petty as always) on the "normal" version compared to the HD versions (there is even the option CPTK - overpriced - or HD software only version).

The news are a great addition but it all depends on the needs and the version that already has: for those who PT10 (especially in SL 10.3.6), which did not have the 11 blackjack and are clad in plugs is URGENT TO WAIT. Because, again, little plugs are ready.

But this version of Pro Tools may still be one of the best long (as PT5/PT6 which were examples of stability). However, the version 10.3.6 PT provides a large performance gain with the channel strip (including in SL) so ...

For those like me who have made the choice for virtual VEP5 instrumentals bcp is easier but I expect qd porting all plugs "FX" to really work with.