Pro Tools → Ableton. Drop a Pro Tools .ptx project and get a native Ableton Live .als project — the real session rebuilt, not bounced to stems.
Full walkthrough: How to convert your session to another DAW
Every track, clip and automation lane — rebuilt natively in Ableton, not flattened to stems.
Third-party effects arrive as the same plugin with their saved settings when the plugin is installed on the Ableton machine, and stock plugins map to the closest native equivalent. Summing buses and sends arrive as real routing, and mixer automation lanes — volume, pan, mute, sends — carry over. Plugin-parameter automation lanes and third-party instrument state don't cross the Pro Tools–Ableton boundary yet — they're reported, never silently dropped. Nothing is silently dropped.
Local conversions stay right in your browser — your session never leaves your computer, nothing uploaded, nothing stored. Uploaded sessions move over an encrypted connection into your own private space, with access only you control, and yours to delete anytime.
Pro Tools saves a session as a .ptx file (older versions: .ptf or .pts); Ableton Live saves a Live Set as an .als file. So a Pro Tools to Ableton converter, converting .ptx to .als (PTX to ALS), turning a Pro Tools file into an Ableton file, opening a Pro Tools session in Ableton Live, importing a Pro Tools session into Ableton, exporting Pro Tools to Ableton, and moving, transferring or migrating a session from Pro Tools to Ableton Live all name this one conversion — and it runs here, free to start, online, with nothing to install.
.ptx file (legacy .ptf / .pts), with its audio in the session’s Audio Files folder..als file, with its audio in the project folder’s Samples/.Step by step: how to convert Pro Tools to Ableton · the other way: Ableton to Pro Tools (.als to .ptx) · every DAW converter direction
Not directly — Ableton Live can't read Pro Tools's .ptx format. Doseedo converts it: upload your .ptx — or zip the whole session folder (the .ptx with its Audio Files/) so the audio travels with it — and it rebuilds the session as a native Ableton Live .als project you can open and keep working in. Legacy .ptf and .pts sessions convert too, and a bare .ptx carries no audio — Pro Tools keeps audio in the session's Audio Files folder, so upload the zipped session folder to bring it along.
Two separate walls. Live reads no other DAW’s project format, and it has never implemented AAF or OMF in either direction — through Live 12, with Ableton’s own help pages documenting OMF as unsupported — so the interchange route other DAWs use to reach Pro Tools does not exist here at all. A Pro Tools hand-off normally arrives in Live as stems. Converting the .ptx produces a native .als instead.
If clips really are all you need, stems are fine. The reason to convert is everything stems drop: tracks arriving named and ordered, summing buses and sends as real routing, mixer automation for volume, pan, mute and sends, and stock plugins mapped onto Live’s own devices — none of which survives a bounce.
People describe the same job five ways — export Pro Tools to Ableton Live, import a .ptx into Ableton Live, transfer the project, open a Pro Tools project in Ableton Live — and none of it needs stems. Upload the .ptx and it converts to a native .als that opens in Ableton Live with tracks, MIDI, audio and the tempo map intact.
Tracks with their names, order, levels, pans, mutes and solos; MIDI clips at their arrangement positions with every note; audio clips with their files traveling in the session folder; summing buses and sends as real routing; mixer automation lanes (volume, pan, mute and sends); stock plugins mapped to real native equivalents; tempo, time signature and markers. Third-party effects arrive as the same plugin with their saved settings when the plugin is installed on the other side. Plugin-parameter automation lanes and third-party instrument state don't cross the Pro Tools–Ableton boundary yet — they're reported, never silently dropped.
Third-party effects do — the same plugin arrives with its saved settings when it's installed on the Ableton machine, and stock plugins map to the closest native equivalent. Plugin-parameter automation lanes and third-party instrument state don't cross the Pro Tools–Ableton boundary yet — they're reported, never silently dropped.
Your project is uploaded over an encrypted connection into your own private space, converted, and is yours to delete anytime.
2 conversions a month with no account, or 5 with a free account, both at full fidelity. Pro is $12/mo for 1,000 conversions a month, no watermark, cancel in one click. One conversion is one project translated one direction; a round-trip is two.
Zip the Pro Tools session folder (the .ptx with its Audio Files/; legacy .ptf and .pts sessions convert too) and drop it on the converter above, then download the .als and open it in Ableton Live. The .ptx isn't renamed or wrapped: the session is rebuilt as a native Ableton Live project — tracks, clips, MIDI, tempo map and markers in place.
Yes — this page. It runs in the browser on macOS, Windows, ChromeOS or Linux with nothing to install: 2 conversions a month free with no account, 5 with a free account, 1,000 a month on Pro at $12/month, every plan at full fidelity. You don't need Pro Tools installed to convert; you need Ableton Live to open the result.
Not directly — Ableton Live has no .ptx import and Pro Tools has no .als export; both formats are proprietary. Converting the session here rebuilds it as a native .als, and Ableton Live then opens that like one of its own projects — that is the import.