For years, the term ‘Industry Standard’ has been applied to Pro Tools. Users of competitor DAWs argue against this, citing features and other reasons why this isn’t really the case. We explain how it got this prestigious title and why, when compared to other ‘Industry Standard’ applications, Pro Tools is missing a vital piece of the puzzle, to really earn the title.

The Paradox of Pro Tools

Pro Tools, is a name synonymous with professional music and post audio production. It’s been around for a very long time, and it's the go-to choice for many top-tier music and post-production facilities, you would be hard pushed to find a top commercial music or post facility of the level of Abbey Road or Pinewood that doesn’t use it. This widespread adoption has placed Pro Tools on a pedestal, likening it to Adobe Photoshop in the realm of graphic design and Microsoft Word in document creation. However, a critical distinction sets Pro Tools apart from these industry counterparts - its closed file format, which poses unique challenges to its users and the industry at large.

The Industry Standard Debate

To understand why Pro Tools is considered an industry standard, we need to look at its ubiquity. Walk into any major studio or post-production house, and the chances are high that Pro Tools is at the heart of their operations. This prevalence isn’t accidental; it's a testament to the software's robust feature set, high-quality audio processing, and a user interface that professionals have grown accustomed to over years.

However, the term "industry standard" implies a level of universality and accessibility that Pro Tools does not entirely embody. In contrast, Adobe Photoshop and Microsoft Word files can be opened, edited, and shared across different software. This interoperability has strengthened their positions as industry standards. Pro Tools, on the other hand, has remained an island of sorts, with its proprietary file format (.ptx) being largely inaccessible outside its ecosystem.

This may be a moment when someone says “Ahhh but what about AAF?” Yes, what about AAF, perhaps the most non-universal, universal file format. If you want to know more about this then read our article “AAF And OMFs - Post Audio Expert Panel On The Good, The Bad And The Ugly”

The Commercial Challenge

The commercial implications of this closed system are significant. For Avid, keeping Pro Tools files exclusive to its software has been a strategic decision to maintain its market share. This exclusivity ensures that once users invest time and resources in learning and integrating Pro Tools into their workflow, switching to another Digital Audio Workstation (DAW) becomes less appealing. You may think this approach is cynical, but it’s one taken by many companies with proprietary software or hardware, if the thing you have is you major commercial advantage than why make it easier for your competitors to leverage it?

However, this strategy is a double-edged sword. In an era where cross-platform compatibility is becoming increasingly important, Pro Tools’ insularity could be perceived as a limitation, especially by new entrants to the field who may prefer more flexible and open alternatives.

Going back to the two comparisons of Adobe Photoshop and Microsoft Word, both working in fiercely competitive spaces, it doesn’t seem to have done the applications or the brands that much harm.

The Technical Hurdle

The technical challenges of opening up Pro Tools files to other applications are considerable but not insurmountable. It involves ensuring that the complex data in Pro Tools sessions, including audio tracks, plug-in settings, automation, and metadata, can be accurately translated and replicated in other DAWs. This task requires not just technical expertise but also a willingness to collaborate with competitors, something that has not been the norm in the industry.

The recent announcement of PreSonus Studio One 6.5 saw DAWproject, an open source initiative aiming to make the creative workflow truly DAW-agnostic.

Launching with initial support for PreSonus Studio One and Bitwig Studio, DAWproject champions a universal import/export file format. Imagine building a project in Studio One and then whisking it straight into Bitwig Studio with all session data, markers, and automation intact.

The idea is there, however it’s often the biggest player in the room like Adobe or Microsoft that get traction with these kind of technical developments.

Risks and Opportunities

For Avid, the decision to open up Pro Tools file compatibility is fraught with risks and opportunities. On the one hand, doing so could dilute its market dominance as users gain the freedom to move between DAWs without losing their work. On the other hand, it could also enhance the appeal of Pro Tools, as it would be seen as a more flexible and accommodating DAW, aligning with modern expectations of software interoperability. It would certainly earn Avid some brownie points from the more cynical parts of the audio production world.

Furthermore, embracing an open format could spur innovation. When developers and users across different platforms can interact with Pro Tools sessions, it could lead to new integrations and workflows, potentially benefiting the entire audio production industry.

A Crossroads for Pro Tools

Avid is accelerating its development of Pro Tools, adding features to both catch up and put Pro Tools ahead of other DAWs. However, Pro Tools stands at a crossroads. Its status as an industry standard is undisputed, yet its closed file format is a notable exception in comparison with other leading software like Photoshop and Word. The decision to open up this format involves weighing commercial risks against potential gains in market goodwill and innovation.

Ultimately, Avid's choice will reflect not just on Pro Tools but on the direction of the audio production industry as a whole. Will Pro Tools continue to fortify its walled garden, or will it embrace a more open ecosystem, much like its counterparts in other creative industries? This decision will have lasting implications for professionals and hobbyists alike, shaping the future of music and audio post-production.

Is this the moment that Avid do something big like this? Discuss.