WG DAW Converter v3 [MAC]

• Product: WG DAW Converter
• Developer: WG Apps
• Version: 3.2.19
• Requirements: macOS 11 or later
• Source: wg-apps.com/daw

WG DAW Converter v3 reads a DAW session file directly and rebuilds it in a different DAW’s format, without requiring the originating application to be installed. It parses Pro Tools, Studio One, Ableton, Cubase, Nuendo, FL Studio, REAPER, Logic Pro, Audition, OMF and AAF files, then exports AAF, OMF, Ableton, REAPER, Audition, DAWproject or aligned per-track audio. Track names, clip positions, markers and tempo maps carry over; version 3 adds Pro Tools as an export target and reads Cubase and Nuendo sessions back to 1999.

Key Takeaway

The core value is reading a session straight off disk — no Pro Tools, Cubase or Logic license needed on the converting machine — and rebuilding track structure, clip positions, markers and tempo in the target format. What doesn’t survive is anything living inside a plugin: automation curves, insert chains and instrument states stay behind.

Nine DAWs, No Installs Required

WG DAW Converter v3 opens a session by parsing its native file structure — Pro Tools’ .ptx, .ptf and .pts, Studio One 7’s .song, Ableton 12’s .als, Cubase’s .cpr, Nuendo’s .npr, FL Studio’s .flp, REAPER’s .rpp, Logic Pro’s .logicx, Audition’s .sesx — plus standalone OMF and AAF interchange files. None of the corresponding DAWs need to be installed on the machine running the conversion. A freelance mixer handed a Pro Tools session can open it on a laptop that has never run Pro Tools.

Cubase and Nuendo support reaches back further than the current app versions — .cpr files from every Cubase generation back to the original Cubase VST parse, and .npr files from Nuendo 1.x through 15 open the same way. A studio archiving decade-old sessions gets a read path for files a current Cubase install may no longer open without a compatibility patch. That range decides whether an archived 1999 session is recoverable at all, or stuck on a machine still running the original OS.

A DAW outside this list has no direct read path — a session from something like Bitwig needs an OMF or AAF export from inside that DAW first, since the converter reads native project structures for the ten supported applications only. That intermediate step keeps clip and marker data intact but strips whatever the OMF or AAF spec itself doesn’t carry, the same ceiling any interchange format runs into.

AAF Now Speaks Pro Tools

Version 3 adds Pro Tools as a direct export target, alongside the AAF, OMF, Ableton .als, REAPER .rpp, Audition .sesx, DAWproject and per-track WAV outputs carried over from v2. AAF itself splits into two flavors on export — a Cubase-style AAF and a Pro Tools-style AAF — since the two applications interpret certain AAF metadata fields differently, and picking the wrong flavor is a common source of tracks landing in the wrong order or fades dropping on import.

New exports can be dragged straight into an open DAW project window rather than routed through a file browser and an import dialog, cutting the session-swap process by one step. For a mixer moving several small sessions a day between a Pro Tools room and a Cubase workstation, that’s the difference between one drag per session and a save-export-locate-import cycle repeated every time.

Stems Rendered at Up to 192 kHz

When a target DAW isn’t in the export list, or a client just wants files instead of a project, the converter renders aligned per-track WAVs or a single MP3 mixdown directly from the session data — up to 192 kHz, with RF64/BW64 support for files that cross the standard WAV size ceiling. Each stem lands at the same sample-accurate position it held in the source timeline, so a set of stems dropped into a blank session in any DAW reassembles the arrangement without manual nudging.

MP3 export exists for reference and approval passes, not delivery — there’s no combined high-resolution-plus-MP3 output option, so a mixer needing both a client reference and full-resolution stems runs the conversion twice with different output settings selected each time. That’s a small step, but it repeats on every session that needs both formats, not a one-time setup cost.

No Plugin Chains, No Automation Curves

What transfers across a conversion is structural: track names, clip positions on the timeline, markers and the tempo map. What doesn’t transfer is anything that lives inside a plugin or an automation lane — EQ curves, compressor settings, volume rides and instrument patches stay in the source session and don’t reconstruct in the target DAW.

Track and clip metadata is plain positional data, portable across any DAW. Plugin state isn’t: a Pro Tools EQ3 setting and a Cubase Frequency setting have no shared format for a converter to translate between. A mix built on forty inserts across twelve tracks arrives in the target DAW with the arrangement intact and the mix itself gone, ready for a rebuild rather than a reopen.

FAQs