Your mix moves between Pro Tools and REAPER sounding like it should.

Convert one session for free and get a preflight report for your whole library.

The Windows installer is new, so two warnings may appear the first time. Chrome may say “Suspicious download blocked”: choose to keep the file. Windows may say “Windows protected your PC”: click More info, check that the publisher reads Mollusk Audio LLC, then click Run anyway.

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Both conversions are included, and every update to them: fixes, new plug-in coverage, newer Pro Tools formats.

The mollusk app's queue: four Pro Tools sessions to REAPER and two REAPER projects to Pro Tools, selected and ready to convert — Four Pro Tools sessions and two REAPER projects selected in the queue, then the same six converted, with the report for the highlighted conversion.

The mollusk app after converting: six finished conversions in both directions and the conversion report for the highlighted session — Four Pro Tools sessions and two REAPER projects selected in the queue, then the same six converted, with the report for the highlighted conversion.

The Pro Tools mix window: vocal, drum and reverb tracks with their inserts, sends, pans and the Drums mix group — The same mixer in both programs: pans, inserts in their original order, every send to its bus, and the Drums mix group.

The REAPER mixer after conversion: the same tracks, inserts, sends, pans and the Drums group — The same mixer in both programs: pans, inserts in their original order, every send to its bus, and the Drums mix group.

ValhallaVintageVerb open in Pro Tools, with its Decay automation lane — ValhallaVintageVerb on the reverb track. Every setting and the Decay automation match after conversion.

The same ValhallaVintageVerb in REAPER after conversion, every setting matching, with the same Decay automation — ValhallaVintageVerb on the reverb track. Every setting and the Decay automation match after conversion.

Avid's EQ3 7-Band open on the Snare Top track in Pro Tools, with a high-pass and five bands set — Avid’s EQ3 exists only for Pro Tools, so REAPER cannot load it. mollusk puts REAPER’s own ReaEQ in the same slot, set to the same curve and the same output gain. ReaEQ uses more bands than EQ3 to follow the same shape.

REAPER's ReaEQ on the same track after conversion, drawing the same curve — Avid’s EQ3 exists only for Pro Tools, so REAPER cannot load it. mollusk puts REAPER’s own ReaEQ in the same slot, set to the same curve and the same output gain. ReaEQ uses more bands than EQ3 to follow the same shape.

Pro Tools in warp view on the Gtr 1 and Bass tracks: the guitar clip carries a row of warp markers where Elastic Audio stretched it — A clip that Elastic Audio stretched in Pro Tools arrives in REAPER as a stretched clip with stretch markers.

The same guitar clip in REAPER after conversion, with stretch markers and the playback rate of each segment under the clip — A clip that Elastic Audio stretched in Pro Tools arrives in REAPER as a stretched clip with stretch markers.

A synth part in Pro Tools' MIDI editor, bars 205 to 210: two dark lines mark the edges of the clip, and the last note crosses the end line — The two dark lines in Pro Tools are the edges of a MIDI clip. Pro Tools plays only the notes that start inside the clip, and the last note rings past the clip’s end. In REAPER, the note that starts before the clip is kept and muted (the black bar at the left), and the clip is longer so the last note rings in full. REAPER colors each note by pitch and labels middle C “C4”; Pro Tools labels it “C3”.

The same part in REAPER's MIDI editor after conversion: the same notes, one muted note at the left edge of the clip, and the clip ending where the last note ends — The two dark lines in Pro Tools are the edges of a MIDI clip. Pro Tools plays only the notes that start inside the clip, and the last note rings past the clip’s end. In REAPER, the note that starts before the clip is kept and muted (the black bar at the left), and the clip is longer so the last note rings in full. REAPER colors each note by pitch and labels middle C “C4”; Pro Tools labels it “C3”.

Plug-in settings intact: Supported plug-ins keep their exact settings, from EQ curves to synth patches. The report lists any that cannot be transferred.
No DAW required: The only project files mollusk reads are .ptx and .rpp files. No Pro Tools or REAPER installation, subscription or plug-in license is needed to convert.
Built for real-world sessions: Playlist comps, Elastic Audio edits and clip gain stay intact and editable.
Try it free: One project converts free and in full, from Pro Tools or from REAPER. Preflight reports are free for every session and show what would transfer.

Pro Tools to REAPER is tested end to end on Pro Tools 12 and Pro Tools 2026. Sessions from Pro Tools 10 onward use the same file format and should convert. REAPER to Pro Tools writes sessions for Pro Tools 2026.

What transfers

Tracks

Track order and names
Fader level, mute, solo and pan
Stereo panning on both channels
Master fader, on REAPER’s master track, and each master fader after the first as a track that the tracks routed to it play through, into REAPER
Pan law, with Pro Tools’ pan depth as the pan law, into REAPER
Solo safe
Hidden tracks, and inactive tracks kept silent
Voice-off tracks, muted, into REAPER
Aux inputs as tracks, into REAPER
Split .L/.R recordings combined into one stereo track, into REAPER
Track colors and heights, Pro Tools’ default colors included in all five coding schemes, into REAPER
Track comments, kept as notes
Frozen tracks, unfrozen with their plug-ins
Committed tracks, without doubled playback
Folder tracks, nested where the routing allows
Routing and Basic folder tracks, into REAPER
Mix groups for volume, mute, solo and automation mode
VCA masters
Surround and multichannel tracks, as one track of the same width, up to 9.1.6 and fourth-order Ambisonics into REAPER, up to 7.1 into Pro Tools
Surround panner position, divergence, center and LFE, for mono and stereo tracks panned into a 5.1 bus, into REAPER

Automation

Volume, pan and mute automation on audio, aux and instrument tracks
Send level and mute automation
Master fader volume and mute automation
Plug-in automation on verified controls
Automation modes

Video

Video tracks and clips
Video in .mp4, .mov, .m4v and MXF, ProRes, DNxHD and DNxHR included, into Pro Tools, with the video’s own sound on Windows, on an audio track
Clip trims and splits
Video placed at the picture’s own frame rate
With more than one video track, the picture of the track Pro Tools plays is shown and the other video tracks are muted

Buses and sends

Sends and send levels
Send pan on mono sends
Pre-fader sends
Sends switched off
Bus routing into aux tracks
Stereo buses
Sidechain inputs
Multi-output instruments
Two sidechain keys on one track, each to its own plug-in, into REAPER
Sidechain-only buses kept off the master, into REAPER
Tracks with no output, heard through their sends, into REAPER

Plug-ins

Insert chains, in order; a chain of more than ten inserts continues on an aux track in Pro Tools
Plug-in parameters, from EQ curves to knob positions, where the settings can be read
Settings for FabFilter, Valhalla, u-he, iZotope, Arturia, Line 6, TDR, Antares and more
Bypassed and inactive plug-ins
Instruments, with their patch where the settings can be read; AIR instruments too, into REAPER
Sessions with plug-ins Pro Tools can no longer load, into REAPER
Other Avid stock plug-ins, recognized and named, into REAPER
VST3 by default, VST2 or CLAP on request, into REAPER
Settings kept for plug-ins not yet installed
Plug-ins that cannot transfer keep their place in the chain, named, and are listed in the report
Melodyne edits, clip by clip (Melodyne required in the destination program)
Avid’s EQ3, Dyn3 and Channel Strip as REAPER’s own EQ and dynamics, and REAPER’s EQ, compressor and gate as EQ3 and Dyn3, with their settings
Avid Trim’s gain and polarity, and REAPER’s Volume Adjustment and Channel Polarity Control as Avid’s Trim

MIDI

Notes with pitch, velocity and length
Clip edges and overlaps, played as in the source
Pitch bend, channel aftertouch, controllers and SysEx
The track’s patch, as a program change
MIDI timing through tempo changes
MIDI Real-Time Properties (transpose, velocity and delay), into REAPER

Clips

Sample-accurate clip positions and lengths
Clip names, mutes and locks, with Edit lock and Time lock on clips, into REAPER
Clip Effects polarity and sync points, into REAPER
Clip gain, and REAPER’s item and take volume envelopes as Clip Gain
Fades and crossfades, REAPER’s shapes kept in Pro Tools
Overlapping clips, layered as in the source
Warp markers and clip pitch, Elastic Audio included, and REAPER’s play rate, stretch markers and pitch shift as stretched and warped clips
Looped clips, as their passes
Clip group contents, placed as they play
Alternate takes and comps; Pro Tools playlists as lanes in REAPER, and comps across playlists

Tempo and markers

The full tempo map
Time signatures and meter changes
Markers and regions, with names and colors
Timecode rate and session start
Selection memory locations as regions, into REAPER, and project notes as a memory location named Project notes, into Pro Tools
Tempo ramps as REAPER ramps, on request, into REAPER
Sample-based and tick-based tracks, and the edit grid setting, into REAPER

Files

Sample rate
WAV and AIFF audio
MP3, FLAC, OGG and Opus files decoded into the session, and audio at another sample rate converted to the session’s rate, into Pro Tools
Track, clip, marker and folder names in any language
Missing audio, listed in the report, and as offline clips in Pro Tools that Relink brings back
REAPER’s backup copies (.rpp-bak), listed in the library and converted
Damaged or empty Pro Tools session files, reported
Optional copy of media into the project
Audio in Rendered Files and Bounced Files, into REAPER
Settings for dropping alternate takes, leaving out hidden tracks, using Pro Tools fades only, and track and clip colors, into Pro Tools

Each item is verified against real sessions. A line that names a direction holds for that direction only. Anything mollusk finds but cannot transfer is listed in the report.

mollusk converts sessions from one DAW to another with their mixes matching as closely as possible. Conversions are written in the destination DAW’s own format, not through AAF, OMF or similar. Pro Tools to REAPER and REAPER to Pro Tools are the first two. Each conversion is built and tested separately, against real sessions in both programs.

More pairs are planned. If there is a conversion you need, tell us which DAWs.

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