What carries over when you convert between DAWs

Audio tracks and instrument/MIDI tracks, in order, with names and colors.

Positions, lengths, loop boundaries.

Fades (in/out and curve shape), clip gain, pitch/transpose, quantize.

Notes, velocities, and timing (one region per clip).

Tempo, time signature, tempo and meter changes (multi-point maps), and section/arrangement markers.

Ableton clip-launcher clips are placed onto the Arrangement timeline.

Stereo pan, stereo width, and summing/group buses with their routing.

Quick Sampler ↔ Simpler, with the actual sample loaded on the other side.

Core controls on compressor / reverb / delay-echo (threshold, ratio, attack, release, and their equivalents) map across.

Breakpoint lanes carry over.

Which panels, the mixer, and automation lanes are open.

A small sidecar written alongside your project captures everything the destination format can't natively express — warp markers, modulation envelopes, plugin state, flex-time and view settings. Go Ableton → Logic → Ableton and you get your original project back, not a generation-lossy copy.

Reading live plugin state from the open project, rather than parsing a cold file, means parameter and preset fidelity is higher.

Samples are hardlinked, not copied, so converting doesn't clone your library or bloat your drive.

Edits flow between the web project and your DAW as you work, with version history so you can move backward and forward without losing state.

Third-party effects arrive as the same plugin with their saved state (carried in the plugin format both DAWs share on the Mac). What isn't done: translating a preset to a different plugin format, and third-party instrument state going into Live loads at factory defaults — deliberately, since a patch recalling a missing sample library can crash Live on open. Full instrument state round-trips via the desktop app. Faithful round-trip of arbitrary plugin state is preserved through the desktop app (above), not a one-way file export.

Buses and sends to buses transfer; dedicated return-track effect chains are still in progress.

Every DAW here converts to and from FL Studio (.flp) and REAPER (.rpp) too — twenty directions in all across the five DAWs. Those directions carry the arrangement: tracks in order with names and colors, MIDI notes with velocities, audio clips placed with their media, markers, tempo and time signature, and per-track volume, pan and mute. Coming out of FL Studio, the stock mixer effects — Parametric EQ 2 and v1, Soft Clipper, Limiter, the master-bus chain included — arrive in Ableton and Logic as native devices with their settings, and anything unmapped is reported. What doesn't cross an FL or REAPER boundary yet: third-party plugin state, instrument state, automation envelopes, and per-clip stretch. The Logic ↔ Ableton pair above remains the deepest direction.

Pro Tools (.ptx, plus legacy .ptf/.pts) converts to and from every DAW here. All eight directions carry tracks with names, order, levels, pans, mutes and solos, MIDI clips with every note at its arrangement position, audio clips with their files traveling in the session folder, tempo, time signature and markers — upload the zipped session folder so the Audio Files/ travel, and an export to Pro Tools downloads as the whole session folder zipped. The Logic and Ableton directions go deeper: summing buses and sends arrive as real routing, mixer automation lanes (volume, pan, mute, sends) carry over, stock plugins map to real native equivalents (into Pro Tools as real AAX inserts), and third-party effects arrive as the same plugin with their saved settings when the plugin is installed on the other side. What doesn't cross the Pro Tools boundary yet: plugin-parameter automation lanes and third-party instrument state — reported, never silently dropped. The FL Studio and REAPER directions have the same boundary limits as the other FL/REAPER pairs above.

Carried losslessly on a round-trip via the desktop sidecar; a one-way cross-DAW export captures timing but not every warp marker.